
Class GviLLM 

Bnnic ■ A ^ 



GopightW. 



COPYRIGHT DEPOSIT. 




AND HOW TO TRAIN 




RICHARD K. FOX 

^=^ PUBLISHER 

c^ New York City 



/n 




RICHARD K. FOX, 

PROPRIETOR OF THE POLICE GAZETTE 

PUBLISHING HOUSE. 









BOXING 

AND HOW TO TRAIN 




BY— — 

Sport: tng Edi'::or' ' - " ' '" - • 
OF the; 


■^ 


BAG PUflCHiriG 




ILIvUSTRATBD WITH PHOTOGRAPHS 
SPBCIAIvIvY POSED FOR. 




NEW YORK 

RICHARD K. FOX, PnLlislier, 

Franki^in Squark 

1904. 



LIBRARY of CONGRESS 
Two Copies Received 

APR 7 1904 

Copyright Er^fV-'V. 

CLASS (^ XXc. No. 
COPY B 






~mn 



E»te|-ed ,aceor|lk3^ ^(5^ Act ^©i" congress, in the year 1904. 
[l JJl '-' I \\ : I" ] ^' .BY. ■Richa'r^*' K. Fox, 

In the Office of the Ivibrarian of Congress, 
at Washington, D. . C. 



WARNING : 

THE PHOTOGRAPHS IN THIS BOOK HAVE BEEN SPECIALLY 
POSED FOR, AND REPRODUCTION IS POSITIVELY FORBIDDEN WITH- 
OUT THE CONSENT IN WRITING OF PUBLISHER, RICHARD K. FOX. 




SAM C. AUSTIN, 
SPORTING EDITOR OF THE POLICE GAZETTE. 




POSITION-ON GUARD. 



Tl?e Art of Boxii^: 



CHAPTER I. 
Position — On Guard. 

Shake hands ! This is a good old-fashioned custom which 
should always be observed before and after a bout. Throw some 
warmth and feeling into the grasp ; it betokens a friendly spirit 
and dissipates the thought that two contestants in a boxing bout 
cannot be aught than enemies. 

One of the most essential things now is to stand firmly upon 
the feet in a position to get about quickl}' and safely — slow legs are 
as much to the detriment of success as slow hands. One must be 
always ready to use his feet to retreat and to advance, or to quickly 
step into position. In this position the toes of the right foot must 
be directly behind and in a line with the left heel. 

Easily balanced on your feet, the right arm should be across 
the " mark " (that point where the ribs begin to arch), the hand 
being an inch below the left breast. To obtain the exact position 
of the left arm, advance the left shoulder, drop the arm by the side, 
and then raise the forearm until the hand is on a level with the 
elbow. In sparring it should be worked easily forward and back- 
ward. Throw the right shoulder well back and slightly sink it, so 
that of the two the left shoulder is the higher. lyower the chin, 
turn the face a little to the right, and bend the head slightly over 
the right shoulder. The object of turning the face is to prevent 
both eyes being hit at once, while the head is bent to the right in 
order that it may not be directly in a line with your opponent's left 
hand, and thus afford him an easy target. 

Some consideration must be given to the position of the 
hands. They must be tightly clinched If this precaution is not 
observed the force of the blow is diminished and a sprained or 
otherwise injured wrist would be the penalty involved. The left 
hand, in the position to lead at the head, should be closed with the 
palm upwards, the arm almost perfectly straight, with the elbow 
turned up. 




FEINTING FOR AN OPENING. 



ART OF BOXING. 13 



CHAPTER II. 
Fkinting. 

Now, being in position, the first thing to do is to feint, which, 
in other words, is to offer a false attack to divert the attention of 
your adversary from the mode of attack to be followed ; but the be- 
ginner would do well to cultivate quickness and attain some pro- 
ficiency in straightforward sparring before he turns his attention to . 
manoeuvres which are more likely to get himself than his adver- 
sary in trouble if they are not performed with great rapidity. 

By trying to impress upon you the importance of rapid foot 
work it is only necessary, in support of this theory, to say that 
James J. Corbett, the most proficient boxer of his day, attributed 
his great success to his agility in the ring. He was the first whose 
feet were made to assist in feinting. He found that moving in and 
out before a man confused him as to what was about to happen. 

A quick rush might result in the man's attempt to block 
something, which would leave an opening as big as. a house. A 
sudden side step often caused the man to lead in a way which gave 
a perfect opportunity for a counter. 

There are three objects in feinting, all of which are exceed- 
ingly rational. 

The first is what most people believe to be the sole object of 
the feint — confusing the opponent until he is uncertain as to what 
is to happen. 

The second object sought in feinting, and an even more im- 
portant one than the other, is that of inducing the man to lead. 
The other object of the feint is to so confuse and bewilder the man 
from the moment he gets into action until the bell that he is always 
keyed up. 

Feinting consists not only in movements of the hands, feet 
and body, but includes every trick and move which is made with 
an idea of deception. A shift of the eyes, a careless attitude, or 
any trick which may induce one's opponent to believe his chance 
has arrived. 




HOW TO DELIVER A BLOW. 



ART OF BOXING. 15 



CHAPTER III. 
How TO Deliver a Blow. 

Having disposed, of the important details incidental to the 
beginning of the bout, we come to the necessary feature of how to 
deliver a blow correctly. Throwing the clinched fists about in the 
air, depending upon a chance effort or inexperience or carelessness 
on the part of 3'our adversary to land a blow, will soon place you 
at the mercy of an accomplished boxer who knows how to dispose 
of his punches to the best advantage. In the first place, to judge 
the distances correctly, so that your effort to land will not be a 
wasted one, learn to hit straight rather than the round-arm blow, 
which is the natural tendency of the beginner. Always remember 
that a straight line is the shortest distance between any two points, 
and that your fist can travel faster, direct in a straight line, than by 
curving it to reach your adversary. 

It is advisable to practice straight-arm hitting with your soar- 
ring partner, varying the monotony by being the receiver and di- 
recting your energy toward either stopping the blow or countering 
it. The quick lead often enables a man to score point after point 
without receiving a return. 

It is no use trying to do too much all at once, and if you give 
a considerable time to thoroughly mastering this straight hitting 
your chances of ultimate success are greatly increased. 




LEFT LEAD AND BODY COUNTER. 



ART OF BOXING. 17 



CHAPTER IV. 

lyKFT-HAND IvKAD. 

Now you have sparred around your adversary, watching for 
an opportunity, perhaps. You have feinted him within your dis- 
tance hne, which you have measured well. You step in, plant' a 
blow and get away again at once. 

A slow lead-off lays a man open to counters and cross-counters, 
wh-'ch will hereafter be described. 

In stepping in push yourself off the ball of the right foot and 
spring in about i8 inches. The action of foot and arm should be 
simultaneous ; do not step in and then deliver the blow. The lead- 
off at the head with the left hand is the only blow that is delivered 
while the right foot is raised from the ground. 

As you step in the right foot should follow, and, at the mo- 
ment of striking, hang over the spot formerly occupied by the left. 

It is often well to be ready with a second blow with the left, 
so that, if you are by chance a bit short in the lead-off, you may 
advance your right foot a few inches and then step in with a second 
left-hander. 

Very frequently, too, this double hit may stop a man who is 
following you up after your lead-off, only, in this latter case, you 
will not have to advance ; indeed, you may actually feint getting 
back, but instead of doing so, stop short and hit out again. 




BLOCK AND COUNTER BLOW. 



ART OF BOXING. 19 



CHAPTER V. 
Guard for Left Lkad. 

The next thing of importance is how to use the right-hand 
guard for this blow instead of the counter. To do this successfully 
raise the left hand almost to the level of your nose, letting the fore- 
arm be thrown forward with the elbow down, so that the weight of 
the blow may be broken on the wrist. To do this raise the right 
arm in a nearly straight position in front of you till your wrist is 
about on a level with your forehead ; your opponent's left arm will 
glance along your forearm and you will save the concussion which 
is so likely to ensue, if you bend and raise your elbow ; besides 
which, the elevation of the elbow often leads to having your own 
forearm hit into your face. There is another most important rea- 
son for so guarding in this ' ' weaving ' ' style — you are much more 
ready at any moment to hit out than you could be if your elbows 
were bent when raised to the level of your shoulders. If you 
lightly throw your right arm forward and upward in the manner 
indicated, you will be able to guard the left-hand lead-off at the 
head, and this guard should often be used when actually leading 
off yourself with the left — i. e., simultaneously with the lead-off 
you should guard the head with this right-handed "weaving" 
guard Avoid anything approaching the ' ' arms-akimbo style. ' ' 

The guard with the left arm may be similarly executed ; but 
I should, as a rule, recommend getting the head out of the way and 
so avoiding the blowi^ 




DEFENSE FOR A BODY LEAD. 



ART OF BOXING. 21 



CHAPTER VI. 
Defense: eor Body IvEad. 

Now let us consider the best defense for left-handed blows at 
the body, which, though they may sometimes be avoided by i e- 
treating, should nearly always be guarded by the right arm placed 
firmly across the mark and well touching the body — the muscles of 
the abdomen being at the same time contracted, and the region of 
the ' ' mark ' ' well ' ' tucked under ' ' the ribs, so to speak. 

Body blows with the left are not much to be feared, except 
on the "mark," since the right side is furthest away from your ad- 
versary, and he cannot well reach the short ribs with his left hand. 
But on the ' ' mark ' ' he always has a hit with his left, and you 
should learn to guard this, even at the expense of your head, since 
a really hard body hit which gets well home on the " mark " may 
do more to terminate a round, or indeed a fight, than a half dozjn 
flush hits on the face. In treating of body hits with the right, the 
question is vastly different, and, in a sense, more complicated. 
From your position, the left side is very much exposed to the ad- 
versary, and when you lead off with your left he has the chance of 
a right-hander at your left side or short ribs with his right, and this 
is certainly one of the hardest blows to guard against. You must 
not think of guarding it with your right hand or with the boxing 
glove (as many do), but must endeavor to drop your left elbow 
close down to the side, so as to receive the blow on the arm some- 
where near the elbow, stepping at the same time to the right, so as 
to break the force of the hit. 




HOW TO AVOID A BLOW. 



ART OF BOXING. 



CHAPTER VII. 
How TO Avoid a Bi,ow. 

When a man leads at you with the left, and this is especially 
the case when he rushes at you with a determination to knock you 
off the face of the earth, a good plan is to duck j^our head to the 
right, at the same time stepping about i8 inches to the right with 
your right foot. His left hand will then pass over your left shoul- 
der, and you may be able to put in an effective hit with your left 
either on his body or face — try the former for preference. This 
method of avoiding a blow is called the ' ' sidestep, " or " slipping, ' ' 
and it is far better to trust to this when opposed by a larger and 
heavier man, who bores you on to the ropes and tries to smother 
you, than attempt the ordinary guarding. 

' ' Slipping ' ' is equally effective when boxing with a man 
who stands * ' right foot first. ' ' He leads off with his right and you 
duck to the left and come in either with your right on his body or 
head, or with your left on the right side of his head, his right hand 
passing over your right shoulder. 

Another way is to duck forward and come in on the body ; 
but remember that, in executing this manoeuvre, you run the 
chance of the uppercutor a short-arm hit on either side of the head. 
In dealing with the head, it may not be out of place to mention 
that flush hits on the forehead, where the bone is thick and strong, 
usually injure the hitter more than the hittee. The jaw and tem- 
ple are the only really dangerous places as far as the head is con- 
cerned. 






*^m 




HEAD GUARD AND COUNTER. 



ART OF BOXING. 

-^K- 



CHAPTER VIII. 
Practick Hkad Guards. 

Though so important to practice the head guards with both 
arms, it is even more important to make sure of your body guards. 
Therefore, study carefully getting the head out of danger ; at first 
the effort to do this will involve a good deal of hard work, for you 
will overdo the necessary and find it very exhausting, but after a 
time you will begin to feel what is wanted, and will know exactly 
the amount of effort required to throw back your head or move it 
on one side or retreat, so as to avoid the blow by an inch or two, 
and remember, the more accurately you can hit this off the nearer 
you will be for your next attack. 

A miss is as good as a mile, and if your opponent miss you 
only by a quarter of an inch, you can go at him with all the greater 
ease from not having placed too great a distance between yourself 
and him. 

Never waste an ounce of strength, and never dodge or hit 
unless both are likely to succeed, and are made with a definite pur- 
pose. Maintain your own stolid good form ; follow your adver- 
sary at your own pace. Don't run after him, as that is pumping 
work, but simply wait until such a time as you can get near enough 
to deal with him. Then, when within hitting distance, do not be 
guided too much by his actions ; make up your own mind as to the 
best plan of attack, and carry it into effect. 

The amount of " go " in you on any particular occasion is a 
measured quantity, neither to be increased or diminished, though 
you may manage to pull off a terrific hit when every one thought 
you a beaten man. 



w 



LV 






LEFT HAND CROSS COUNTER. 



ART OF BOXING. 27 



CHAPTER IX. 
Guards and Counters. 

We now come to the important feature of guarding and de- 
livering counter blows 

There are, perhaps, few blows more unpleasantly startling 
than a good left-hand counter which meets you full face. It opens 
a spacious firmament to the bewildered eyes, wherein you discover 
more new planets in a second than the most distinguished astrono- 
mer ever observed in a lifetime. As your adversary leads off at 
your head with his left hand, duck to the right, so as to allow Ivis 
blow to pass over your left shoulder ; step in about 12 inches and 
strike out at his face. The right foot should not be moved. Here 
both men have, as it happens, made use of the same stratagem, in 
consequence of which both left arms have passed harmlessly over 
each other's left shoulder. 

A left-hand counter on the head and guard consists sirnply in 
guarding your opponent's lead-off instead of ducking to avoid. 
You step in and hit out as before. 

To prevent your antagonist from hitting after you have led 
off and passed over his left shoulder, bend the elbow quickly, place 
your forearm against his throat and thrust his head back. Grasp 
his left shoulder with your left hand and seize his left elbow with 
your right hand. This will effectually stop him from hitting 3^ou. 




A LEFT CROSS THAT FAILED. 



ART OF BOXING. 29 



CHAPTER X. 
Right-hand Cross-countkr- 

Unquestionably the most severe blow which can be dealt in 
sparring is the right-hand cross-counter. 

As your opponent leads off at your head with his left hand, 
step in about 12 inches, ducking to the left, at the same time shoot- 
ing your right hand across his left arm and shoulder. The blow 
should be aimed either at the angle of the jaw or chin, and the 
palm of the hand should be half turned down. Let both feet be 
turned slightly to the left, as by these means the right side is 
brought forward and greater force is given to the blow. As the 
counter is delivered, draw the left hand back to position, then, 
should a second blow be necessary, before getting away you can de- 
liver it. 

To stop the right-hand counter, while anticipating your ad- 
versary's intention, hit him full in the face with the left hand be- 
fore he ducks ; or, instead of striking at his face, deliver the" blow 
on the right side of his chest near the shoulder, and his right hand 
will be effectually stopped. 

For another stop for right-hand cross-counter, you lead off 
with your left, dropping the head well forward, so that at the end 
of the movement your left ear will be touching the inside of your 
upper arm when the angle of your jaw and chin will be completely 
covered by your shoulder. Body blows with left or right hand will 
act as stops for all right-hand hits at the head. 




RIGHT COUNTER ON THE BODY. 



ART OF BOXING. 31 



CHAPTER XL 
Right Counter on Body. 

To do this successfully duck to the left in order to avoid your 
opponent's lead-off, and strike out with the right hand at a point 
a little below the heart. The left hand should be drawn back. In 
all other particulars this blow represents the preceding. For this 
and the left-hand counter, it will be well to study the right and 
left-hand body blows, for, with the exception of the circumstances 
under which they are delivered, and the difference in the distance 
of the advance made, the blows are the same. 

Another draw and stop for right-hand uppercut is made by 
feinting a lead-off at your opponent's face with your left hand, then 
duck to the left, and put in the right-hand body blow. Never drop 
your hands, however, until out of distance. Having done so has 
brought about many a good man's undoing. After delivering the 
blow, if you see no chance of following it up with another either 
over or under your adversary's guard, grasp around the shoulders 
and waist and hold on until the Referee calls ' ' Break away clean ! ' ' 
Then you can do so by pushing your opponent away from you, tak- 
ing as much time as you require to do this. Each second thus 
gained is a breathing spell, and may be beneficial in a long battle. 




RIGHT HOOK TO THE JAW. 



ART OF BOXING. 33 



CHAPTER XII. 

Right and IvEFT-hook Bi,ows. 

We have discussed the straight blow, and the swinging blow 
is also easy of comprehension, for the hand and arm perform a half 
circle , like a well-bent bow. The hook is a medium between the swing- 
ing and straight blows. In delivering the hook blow, the fist starts 
out as though about to make a swing, but before the hand has gone 
6 inches the elbow is suddenly crooked and the fist describes a sharp 
angle in the direction of an opponent's face. If the man at whom 
the blow is aimed mistakes it for a swing and ducks, he runs on to 
the jolt hard. If he attempts to parry a swing with his right, he is 
too high for it and the hook lands under his guard. It has proven 
to be a very effective and puzzling blow, and the men who have used 
it have played havoc with their opponents. The blow probably 
originated with the late Jack Dempsey, who employed it for years. 
The man who perfected the blow and made it a strong factor in 
his victories was James J. Corbett. It was that blow which ren- 
dered John L. Sullivan helpless and made him an easy victim at 
New Orleans. 




POSITION TO DELIVER AN UPPERCUT. 



ART OF BOXING. 35 



CHAPTER XIII. 
How TO DKiyivER AN Upper CuT. 

One of the most formidable blows that a boxer can learn is 
a left-hand uppercut, which is in reality a counter. It should 
be given when a man is leading off at your head with his left and 
holds his head down. Guard your face with the right arm, step in 
about 12 inches, and hit upwards with the left. The arm should be 
bent and elbow turned down, The force of the blow must come in 
great measure from the body. 

To draw and stop for a left-hand uppercut you feint a lead- 
off at your opponent's face with your head down, then duck to the 
right and give the left-hand body blow, 

A right-hand uppercut is similar to and delivered under the 
same circumstances as the left-hand uppercut. In delivering it the 
head should be slightly bent to the left. For a draw and stop for 
right-hand uppercut, you feint with the head as if it were your in- 
tention to lead off with it down, then throw the head back and lead 
off at your adversary's face with your left hand. 

Another draw and stop for right-hand uppercut is made by 
feinting a lead-off at your opponent's face with your left hand, and 
put in the right-hand body blow. Never drop your hands, how- 
ever, until out of distance. 



/ • /■' 




AN EFFECTIVE KIDNEY PUNCH. 



ART OF BOXING. 37 



CHAPTER XIV. 
Lkf^-hand Body Punch. 

Another important blow is the left hand to the body, and 
should be delivered to the pit of the stomach, which is the weakest 
part of the body. Occasionally it may with advantage be pre- 
ceded with a feint at the head, in order to induce your opponent 
to throw up his right-hand guard and lay the ' ' mark ' ' open. With 
the ball of the right foot well on the ground, step in about thirty 
inches with the left foot, hitting out at the same time and ducking 
to the right. In the event of your adversary attempting to coun- 
ter you with the left, your head will thus be outside his arm, which 
will pass harmlessly over your left shoulder. For this blow the 
arm should be slightly bent, the elbow turned out, and the palm of 
the hand turned inwards and partly down. The right arm should 
in the meantime be drawn back seven or eight inches, and the 
glove held close to the side. To get away, turn the left heel out- 
wards and spring well back, taking care not to raise the head until 
out of distance. 

This blow should never be attempted unless you are confi- 
dent that you have sufiQcient room behind you to be able to get well 
away again. 

To stop this blow depends much upon divining your antag- 
onist's intentions and being able to accurately time your delivery 
so as to hit him full in the face with your left before he can get 
his head down. Your blow must start simultaneously with that of 
your adversary, and , all depends upon which one reaches the 
mark first. Your right arm thrown across your body stops his 
punch. 




RIGHT HAND BODY BLOW. 



ART OF BOXING. 39 



CHAPTER XV. 
Effective Use of the Right Hand. 

The importance of being able to use the right hand effect- 
ively could be dwelt upon at considerable length. Its availability 
for summarily ending a contest has been recognized by many fighters 
who lacked science but possessed the requisite amount of strength 
to overcome the advantage of a superior knowledge of the fistic art. 
Even among clever boxers the right shift, as it is called, is fre- 
quently used to advantage to disconcert an opponent and make an 
opening for the deadly solar plexus punch. The opportunity is 
made by feinting with the left, hitting your opponent on the right 
arm. Do not withdraw your hand, but as he raises his guard rest 
upon it with your left and pin it to his chest, then bring in the 
right hand, aiming it at the chin or angle of the jaw. Properly 
delivered, this is a most punishing blow, for by steadying yourself 
with the left hand you can bring your full force into play with 
the right. There are many variations of this blow which will pre- 
sent themselves to the student during the course of practice. 
Some boxers make a practice of standing in a position contrary 
to the one generally recognized as the correct one, that is, with 
the right foot forward. This places his opponent at a disadvantage. 

To overcome this, work to your left in order to avoid his 
left hand. Be chary in leading off with the left hand, as that is 
at once difi&cult and dangerous. It is far better to lead off with 
the right hand and duck at the same time to the left. When your 
adversary leads off with the right hand, duck to the left and 
counter either upon the face or body. 

The blow on the face must be given like the right cross- 
counter, and the one on the body like the right-hand body blow, 
except that you must aim at the pit of the stomach instead of at 
a little below the heart. 

To bring in the right shift, w^hich is an exceedingly useful 
maneuver, you lead off, tapping your adversary lightly on the chest 
or right arm; do not then retire, but as he comes at you duck to 
the left, make another step forward and pass under his right arm, 
delivering a straight right at his body as you pass. 




ON THE SOLAR PLEXUS. 



ART OF BOXING. 41 



CHAPTER XVI. 
RiGHt-HAND Body Punch. 

Next we come to the right-hand body punch, and it can be 
made very effective if it lands over the heart or the solar plexus. 
To deliver it you use directly opposite methods to those involving 
the left-hand body blow — that is, you duck to the left instead of 
right, consequently you must get nearer your opponent before at- 
tempting it. Be sure always that you have sufficient room behind 
you to retreat. 

Should he attempt to put his left arm around your neck 
while you are delivering this blow, duck to your right under his 
arm and get away. This should always be done when your adver- 
sary attempts to seize your head. When your opponent stands 
with the right leg in front, you must duck to your left. 

Here again the guard and counter are the same, using the 
right hand as a shield held firmly against the body ; stand firm, so 
as to be able to resist the rush, and shoot your left hand straight 
for your adversary's head. 




SCIENTIFBC EXCHANGE AT CLOSE QUARTERS. 



ART OF BOXING. 43 



CHAPTER XVII. 
C1.0SK Fighting in thk Ring. 

The advice given in the preceding chapter was intended for 
emergency use, but infighting is a feature of action within the ropes 
which cannot be lightly considered. As is well known, ** hold- 
ing ' ' is not permitted by a strict interpretation of the Marquis of 
Queensberry rules, but when the other fellow throws his hands out 
for a clinch it is well to know what to do. 

Bring the right foot forward until it is nearly in a line with the 
left, drop the chin and lean forward, so as to receive the blows on 
the forehead. Keep your eyes fixed on your antagonist. Use both 
hands and hit rapidly, bringing the shoulder well forward at each 
blow. The arms should not be drawn too far back, as time is lost 
thereby ; a great deal of the force of the blow is obtained by turn- 
ing the body slightly to the right or left as you hit. It is a great 
advantage to have your hands inside your opponent's ; you 
should, therefore, keep them as close together as possible, so as to 
obtain, or, if you already have it, keep this advantage. Aim the 
left hand at the eyes and nose, the right at the chin or angle of the 
jaw. After delivering five or vsix blows, get away. 

Another way is when you are infighting place your head close 
to your opponent's breast. Take your time and change your posi- 
tion slowly, as he cannot hurt you much while your head is close 
into his breast. The blow you give in this case is a half -arm cross 
upper cut for the right point of your adversary's chin. In every 
case where the left, blow is delivered the body should turn to the 
right with the head slightly bent forward as the blow is struck. 
The knees should be well bent while the body is swinging with 
the blow, and the teeth should be tightly closed. 




OPENING FOR INFIGHTING. 



ART OF BOXING. 45 



CHAPTER XVIII. 

■ Good Points About Infighting. 

. This reference to clinching for a breakaway brings us to the 
subject of infighting. 

Holding is not permitted nowadays as it was in the days 
of the London Prize Ring Rules, and the style of infighting 
has changed materially from what it was when you could grasp 
an opponent around the neck, and, holding him, punch, and keep 
on punching, until he either wrenched himself clear or slipped 
down to avoid punishment, or was thrown. In a street fight it is 
an advantage to get a man's head in chancery, for it enables you to 
throw him at will. There is no set method for getting such a hold 
upon your opponent. When at close quarters, be continually on 
the lookout for a chance to do so, and, when it comes, grasp him 
firmly about the neck with the left arm, using the right hand to 
punish him. 

It is equally important for a. man to know how to get out of 
it when firmly and fairly caught in the hold. The best thing to do 
is to wait and not try, at least unless the hold loosens and he can 
make his effort with some chance of success. In pulling away or 
resisting, he is simply weakening himself. He should, therefore, 
push his opponent back, and at the same time fight to the best of 
his ability with both hands. If, however, he discovers the danger 
before the grasp has tightened, he should place one hand under his 
adversary's forearm near the elbow, the other under the shoulder, 
and push the arm up, ducking at the same time and dragging the 
head away. 

In an impromptu fight between a small man and a big one 
infighting is the oiily way for the former to gain the mastery. The 
little fellow naturally has the shorter reach, and he must, therefore, 
get inside his foe's guard. If the difference in height is great, the 
smaller man must play for the wind. He cannot reach his rival's 
face, and the solar plexus is his best blow. 





1 



1 




BLOCK AND CORKSCREW PUNCH. 



ART OF BOXING. 47 

CHAPTER XIX. 
The Corkscrew Punch. 

In connection with * 'tricks of the trade' ' special consideration 
is given to what is termed the famous corkscrew punch invented 
by Kid McCoy, one of the ' trickiest as well as* one of the most 
marvelously expert fighters ever seen in the ring. The secret of 
his success was due to his study of possibilities. While others 
blocked, or went in slam-bang, McCoy studied how to get past a 
lead and land with damaging effect. His foot-work was perfect. 
His judgment of distance next to uncanny. The accuracy of his 
short-arm work nothing if not marvelous. In boxing position he 
looked solid on his feet and a slow hitter, but in action he was con- 
fusing and deceptive. His movements were slow, deliberate and 
strangely original. His two arms with the elbows out and the 
gloves nearly together, swinging slowly to and fro across his body. 
The feet make moves that further this impression, and- the man 
before him usually leads to nip matters in the bud. But the "Kid' 
has only been feinting for that lead, and as it comes be slips past 
and into close quarters. 

Then McCoy demonstrates what is possible in such a position. 
He is too close to do damage, it seems, but McCoy has figured this 
and knows better. His arms are not in position to protect, him, 
but drawn back at the sides. 

One suddenly blocks like a flash, the other revolves like a 
corkscrew and rips into the man's body. Then, with the speed of 
lightning, it bangs into the face. The block is abandoned and the 
other hand jolts the body and then the jaw. 

The spectator gets a confusing glimpse of two arms working 
like a runaway rock drill, and McCoy is again moving easily about 
with his half -bent arms swinging before him . His opponent con- 
fused and angry at this unexpected behavior, rushes at the "Kid" 
like a mad bull. But the *' Kid " is away like a shadow ; and the 
angry opponent finds nothing in the place McCoy occupied. If 
the man rushes again McCoy breaks ground or blocks. When he 
has his man quiet he begins his work over. He does not take 
chances. An angry man is liable to do awkward things, and a 
clever boxer can be hurt by awkwardness more than by cleverness 




WHERE THE REACH TELLS. 



ART OF BOXING. 49 



CHAPTER XX. 
Pivot Blows. 

Regarding the pivot blow I want to say, first of all, that it is 
a very dangerous blow, and should never be practiced when spar- 
ring with a friend. If it is done properh' there is a great advantage 
in its use, but if one does not know how to do it right he had best 
not attempt it at all, as he will only hurt himself and commit a bad 
foul. This pivot blow is a comparatively new invention in boxing, 
but as far as I can learn it was never known or used by the boxers 
of the old school. Several well-known boxers claim to have in- 
vented the blow. Often in a fight it can be used with very good 
results, and it can be delivered in several different ways 

Perhaps the best way is to wait until your adversary leads 
with his left, instantly stop it with your left, and as j^ou are stop- 
ping it turn or pivot with the right arm slightly bent and the palm 
of the hand turned down and the hand closed. If you have 
calculated right the right side of the right hand should land good 
and hard on the right side of your adversary's jaw or on his jugular. 
A different way of delivering the blow is by trying to get your 
opponent to run after you. Let him get as close as possible and 
when within reach spin around as quickly as possible. This is the 
way that Jack Dempsey was defeated b}^ George I^a Blanche. 

Still another way to get in the pivot is when you are forcing 
the fighting, and have got 3^our man so that his back is touching 
the ropes. This will bother him some, as a matter of course, and 
he will try to get away from the ropes or out of the corner, as the 
case may be. Then is your time to feint at his stomach, and at the 
second or third feint, turn as I ha\ e stated in the first method, but 
the head must be bent forward in this case. The proper way to 
pivot is to turn or spin around on the ball of the left foot, lifting 
the right foot from the ground and swinging it around. This will 
add force to your blow. If you should miss the pivot blow you 
will find yourself in a splendid position to deliver the shift. 




SIDESTEP TO AVOID A LEFT LEAD. 



ART OF BOXING. 51 

CHAPTER XXI. 
Kfficikncy of Good Footwork. 

To handle your feet well — if such a manner of expressing it 
may be used — is one of the most essential qualifications of a mas- 
ter of the art of boxing. Jim Corbett exercised considerable in- 
genuity in devising methods of footwork, and his exhibitions in the 
ring were marvelously showy. He was fast as lightning; fancy to 
the last degree, always moving, shifting, feinting, full of pyrotech- 
nics and blazing in a glare of red fire — all due to the masterly man- 
ner in which he ' ' handled his feet. ' ' A knowledge of good foot- 
work can only be gained by practice, and much depends upon the 
student's agility. The first important thing he has to learn is hov7 
to ' ' break ground. ' ' 

In leading off at the head your right foot will be raised from 
the ground. As you set it down again and the weight of the body 
is transferred to it from the left leg, spring backward. The left 
foot should touch the ground first, alighting on the same spot upon 
which you formerly placed the right, which then assumes its nat- 
ural position in the rear. For other blows, although the right 
foot is not raised from the ground at the moment of striking, the 
movements in "breaking ground " are precisely the same, fof the 
moment the weight falls on the right leg you spring back as before 
described. Then you must be able to advance and retreat without 
throwing yourself off your guard. In going in to attack move 
the left foot about ten inches forward, placing it upon the ground 
heel first. Let the right foot follow it the same distance. Bear in 
mind that the space between the feet should vary as little as pos- 
sible. If you wish to retreat, step back about ten inches with the 
right foot, following it in like manner with the left. To take 
ground to the right, niove the left foot about twelve inches to the 
right, following it immediately with the right, and assuming again 
position No. i. To take ground to the left, move the right foot 
twelve inches to the left, and place the left directly in front of it. 

By adopting these steps the right foot is always behind the 
left, you are always in position, and, consequently, ready either for 
attack or defense. 




SIDESTEP FOR A SOLAR PLEXUS BLOW. 



ART OF BOXING. 53 



CHAPTER XXII. 
Where the Sidestep Is UsefuIv. 
In a previous chapter on how to avoid being hit I referred 
incidentally to the sidestep. You will find this move exceedingly 
useful in avoiding a rush or in getting away when you are driven 
back against the ropes. To explain this more effectively we will 
suppose you to be in position facing your adversary. By a sudden 
movement of the feet, half spring, half step, you turn the body to 
the right, change the relative position of the legs, with the right 
instead of the left leg in front. Your left should now be turned 
towards your adversary, the line of your feet being at right angles 
to the line in which they formerly stood. The left foot should be 
upon almost the same spot formerly occupied by your right. If 
your adversary advances hastily and without caution whilst you are 
in this position, he will be apt to trip over your left leg. Bring the left 
foot into position before the right, and you will then stand a pace 
to the right of your original position. If this step is executed rap- 
idly, you elude your opponent, for he will no longer be in front of 
you, and, consequently, you can easily get away from the ropes. 
A combination of the sidestep and ' ' breaking ground ' ' should also 
be practiced. Spring back, as if "breaking ground," and aiight 
in the posture before described as that of a fencer on the lunge, 
with the body turned to the right, bring the left foot into position 
before the right, and you thus get back and work to the right of 
yourself at the same time. 




SHIFT FOR A RIGHT HAND COUNTER. 



ART OF BOXING. 55 



CHAPTER XXIII. 
Fkints and Shifts. 

Feinting is considered the greatest of all the legitimate 
tricks of the ring, and it is proficiency in its use which makes a 
pugilist clever more than anything else. There is an almost 
numberless variety of feints ; in fact they are too numerous to de- 
scribe, and I don't know as they are describable so that a person 
unaccustomed to seeing sparring would be able to understand what 
was meant . Feinting can only be learned by practice and experi- 
ence. There can be feints with both hands — at the head, at the 
stomach, at the heart, etc., and a man can feint with his knees. 
Such blows as the pivot and the shift I consider tricks of th6 ring, 
and they are very good tricks, too, if one knows how to do them 
well, and blows delivered by these two methods are among the 
most powerful and effective that can be hit. 

What is known as the Fitzsimmons shift can be accomplished 
in several ways. The first is to feint with your left, then step in 
toward your opponent, placing the right foot in front of the left 
and at the same time change the position of the arms, bringing the 
right up across the face with the elbow pointed toward your op- 
ponent. The left should have been brought back when you 
stepped in with your right, and should immediately be let go at 
your antagonist's head or stomach, whichever you think can be 
reached the easiest. As you strike, the left foot should be lifted 
from the ground and your body swinging with the blow will give 
it great force, while your left foot is brought back into its proper 
position as the body is swung around toward the right. The head 
should be slightly bent forward in doing the shift. 

The second method is to wait until your opponent leads with 
his left, then immediately bring the left foot behind the right, 
pointing the right elbow as before, with the left hand in front of 
the stomach. Strike at once- with the left hand for the face or 
stomach, at the same time bring up the left foot to its proper 
position 




DODGING A STRAIGHT LEAD. 



ART OF BOXING. 57 



CHAPTER XXIV. 
How To Practice. 

In boxing as in every other vocation, practice makes perfect, 
and it is only by utilizing the suggestions given in the previous 
pages, in connection with the utilization of them in actual practice 
with the gloves and an opponent can perfection be obtained. 
Spar with any one who invites you to do so. The more your 
superior he is, the better. Be afraid of no one until you have tried 
him Do not be too impetuous ; try to outgeneral your opponent ; 
work out as many points as possible, science is superior to strength 
in this respect; if you drop your science and rush in, strength will 
surely win. Never lose your temper, remember that cool courage 
is superior to hot headedness ; never degenerate into a rough, un- 
meaning, unscientific scramble. Be manly and seek no undue 
advantage. 

Practice each blow slowly at first and increase the speed 
gradually until the blows are made smartly and in as rapid suc- 
cession as possible, but not omitting to return to the position, on 
guard, after each blow. In this manner, alternately going through 
all the guards and counters opposed to each blow in order de- 
scribed. Continue in this manner until you have mastered the 
theory of each movement. 

If, in attempting any particular maneuver you do not at first 
succeed, wait until you have another and more favorable oppor- 
tunity and try it again. 

To make a good set-to it will be necessary for the pupil to 
pay particular attention to the following maneuvers; they consist of 
feints, to draw out au}^ particular blow, and stops or counters to 
oppose them when delivered. 




CLEVER LEFT HAND WORK. 



ART OF BOXING. 59 



CHAPTER XXV. 

KxERCisKS FOR THK Novice;. 

lycft-hand body blow (get back). 

Right-hand body blow ( get back ) . 

Ivcft-hand lead off at the head, guarding with the right (get back). 

Right-hand cross-counter (get back). 

Ivcad off at the head with the left and duck to the right (get back ) . 

Right-hand body blow (get back). 

Lead off with the left at the head without guarding (get back). 

Right-hand cross-counter (get back). 

Left-hand body blow (get back). 

Lead off with the left at the head and duck (get back). 

Lead off with the left hand at the head without guarding (get 

back ) . 
Right-hand cross-counter (get back). 

Left-hand lead off at the head and duck to the right (get back). 
Left-hand body blow (get back). 
Right-hand body blow (get back). 

Lead off with left at body, then make a short step in and repeat 
the blow on the face (get back). ( This is the double lead off at 
body and head ). 

Lead off with left and right at head (get back). 

As your opponent retires, advance quickly then step in and de- 
liver the left on the face (get back). 

Both men lead off with the left and guard (get back). 

Lead off with the left hand at the head (get back). 
Right-hand cross-counter, remain and commence infighting ; de- 
liver five or six blows and get back. 



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DUCK AND LEFT BODY COUNTER. 



ART OF BOXING. 61 



CHAPTER XXVL 

Tricks of the; Ring. 

Having passed the rudimentary or instructive stage of boxing 
it is of some consideration to the novice to learn some of the so- 
called "tricks of the trade," or features of boxing or fighting 
which have brought our foremost pugilists into prominence. All 
the leading exponents of modern pugilism have specialties which 
they consider quite as unique as the artisan or mechanic who 
enjoys the possession of certain secret knowledge by which he 
achieves superior results. John ly. Sullivan discovered the effic- 
iency of a sturdy blow on a certain vulnerable spot on the jaw which 
rendered an opponent unconscious or ''knocked out." From 
Sullivan down to the most obscure fighter, each has certain 
methods which he employs to accomplish certain results. Some 
are blows which are peculiarly and effectively delivered ; for in- 
stance, that famous body blow with which Fitzsimmons whipped 
Corbett and Sharkey, and with which Sharkey in turn beat 
McCoy, and which has proved so effective in the case of 
Jeffries against all comers has become the fashionable blow of 
pugilism. The body blow has quite superseded the jaw blow first 
made famous by Sullivan, and which for many years afterwards 
was the regulation winning punch — the knockout potion. It was 
Sullivan who first displayed the potentiality of the knockout by 
way of the jaw. It was Fitzsimmons who made the body blow 
famous. The methods of Fitzsimmons and Jeffries differ a bit. 
Jeffries works the body blow by continuous punching, rapping 
and hitting, wearing his opponent down in the course of a fig'ht. 
Fitzsimmons uses it just once ; and wins right then. The success 
of both Fitzsimmons' and Jeffries has made the body blow fashion- 
able with biffers. Every fighter is now going in for body punching. 
The body is easier to hit than the jaw, for the jaw presents a 
smaller assailable surface and is more easily manipulated ; that is, 
taken out of the way of a punch. The soft body presents a good, 
big, semi-stationary mark. If the boxer misses his object he lands 
on a soft surface and takes no chances of hurting his hands, as he 




INSIDE RIGHT TO THE JAW. 



ART OF BOXING. 63 

often does when aiming at the jaw. A slight duck to a jaw punch 
brings an opponent's hard head down to your vulnerable knuckles. 
From a standpoint of safe punching, the body is the best mark. 
Eminent medical scientists say that it is the most effective point on 
which attack can be made. A punch in the abdomen affects an 
immense surface and contingent territory of soft nervous tissue. 
A stiff, hard punch, such as Corbett got from Jeffries, will cause an 
internal hemorrhage. This hemorrhage lowers the action of the 
heart in extreme cases, so much so that motion is impossible, 
though the senses are perfect, untouched and unaffected. 

The solar plexus is a great nerve centre, with nerves radiat- 
ing in every direction. It lies near the back of the body, but' is 
not easily vulnerable from the back because of rib protection, In 
front there is no protection except the muscular walls of the 
abdomen. A solar plexus blow must, therefore, be delivered from 
the front to be effective. This nerve centre is so intimately con- 
nected with all the automatic processes of life— heart and lung 
action included — ^that a single blow delivered on the front of the 
body and immediately opposite it produces instant and complete 
paralysis. Or, as the prize fighters phrase it, * ' it puts your man to 
sleep." One single blow delivered there — even though it be not 
a very severe blow — knocks out the man who receives it. The 
short way to end a fight is to deliver a solar plexus blow. 




CLEVER STOP AND EXCHANGE. 



ART OF BOXING. 65 



CHAPTER XXVII. 
A Fouiv Ring Trick. 

Some fighters will resort to any mean, small, filthy trick to 
help them win a fight. Here is a little unfair trick which I have 
seen practiced by a certain pugilist and which escaped the notice 
of the referee. It was a blow below the belt with the left, though 
it was ostensibly aimed to land in the pit of the stomach. As the 
man steps in to deliver it, however, he twists his hand downward 
and the blow lands considerably below the belt and is liable to .do 
a great deal of damage in a fight, and would escape the attention 
of the referee and most of the spectators ninety-nine times out of a 
hundred, although in all probability the man receiving the blows 
would be out of the fight long before he had been struck a tenth 
of that number of blows. 

As a matter of course it is unfair when two boxers are 
clinched for either one of them to strike when breaking away. It 
is often done intentionally and is passed over by the referee on the 
supposition that frequently a man in the excitement of the moment 
forgets himself and delivers the blow without the least intention 
of doing anything unfair. There are pugilists who strike the -blow 
intentionally every time they get a chance, and then say it was 
accident. 

There are many tricks which can be done with the elbow or 
knee. Of course they are fouls and should be claimed by the man 
upon whom they are practiced. Nevertheless, unscrupulous pugil- 
ists often use their elbow when clinched, placing it against their 
opponent's throat and forcing his head back, or in the pit of the 
stomach and pressing it with all their strength right at the point 
where it will do the most damage to their antagonist's wind. It is 
also at close quarters that the knee is used, and a blow from it often 
passes either unobserved by most of the outsiders and the referee, 
or is done so adroitly that it looks as if it were an accident. 

Every one knows that a butt with the head is a foul, and yet 
I have also seen this done so neatly by a foul fighter that the fight 
went on without the referee even cautioning the man ; and 




RIGHT STOP AND LEFT HOOK. 



% 



ART OF BOXING. 67 

in the fight I refer to it was this one butt more than anything else 
which caused the man to win the fight. Back-heeling is also a 
foul, and a man should be very careful when breaking away from 
his opponent that he is not cleverly back-heeled in a manner which 
will make it look like an accident, and thrown heavily to the floor. 
Most rings are pitched on board floors, and I have known a man 
to be knocked out b}^ back-heeling and having his head strike the 
timber. 

Another trick which has been used very successfully by 
some boxers when contesting under London prize ring rules is 
when wrestling with an opponent to make it a point to fall heavily 
on top of him, crushing the wind out of him as much as possible. 
Then some tricky fighters, when they feel tired and want to gain 
time and wind, will fall down when only the faintest suspicion of 
a blow is struck and sometimes without being struck at all, there- 
by being enabled to take their ten seconds on the floor and get just 
as much rest. 




READY TO BLOCK BODY LEAD. 



ART OF BOXING. 



% 



CHAPTER XXVIII. 
Science vs. Strength. 

Mere cleverness does not win fights as often as it used to. 
The day of the merely clever boxer is at an end. A new race of 
sturdy fighters has sprung up who win battles by hard and con- 
stant hammering, coupled with ability to receive, without winking, 
all the jabs, swings and uppercuts that the clever boxer is disposed 
to turn loose. The man who expects to win by head work alone 
is usually quick on his feet, has an extensive knowledge of boxing, 
can duck, dodge, sidestep and feint with puzzling celerity ; but, 
for some inexplicable reason, is unable, or else does not choose, 
to hit with sufiicient force to make an impression on an opponent. 
This scientific boxer relies on his footwork, shiftiness and other 
tactics to win the fight for him. He seldom expects to win by a 
knockout blow, and is quite well satisfied if he gets the decision 
on points. 

The reason that he fails to hit hard enough to accomplish 
a knockout is that in the act of delivering a blow at full force he 
would be compelled to temporarily relax his guard, and thus leave 
an opening for his opponent. It is the prime object of the scien- 
tific boxer not to give his opponent the slightest possible chance 
to land an effective blow. 

When the boxer has succeeded in jabbing and worrying an 
opponent to a dazed condition he may venture a knockout blow, 
but the exception is the rule. 

Opposed to this man of science is now the rugged fellow, 
who punches like a trip hammer and is willing to take six jabs in 
the face for one drive on the body or jaw. This fellow is not de- 
ficient in science. In fact, he could box with his light-hitting 
antagonist and might get a decision on points, but he knows the 
surest and quickest route to victory is by cyclonic punishment 
administered to the body and face of his opponent. Therefore 
when one of these hard hitting, punishment-courting fellows gets 
into the ring with a light -hitting, dancing, jabbing, oide-stepping 
expert, the former loses little time in rushing to close quarters 
and bringing the bout to a close as quickly as possible. 




BODY FIGHTING AT CLOSE QUARTERS. 



ART OF BOXING. 71 



« 



It is worthy of attention that the scientific boxer seldom 
possesses sufficient vitality to enable him to long withstand the 
rushes of a strong punisher, and in recent years the result of con- 
tests between those types of fighters has almost invariably been in 
favor of the rusher. 

It should not be understood that all that is necessary in a 
fighter of that description are strength and ability to hit hard. As 
a matter of fact the strong man with no knowledge of science is the 
easiest victim for the clever boxer, who worries his man to the 
verge of a knockout by the customary tactics of the scientist. 

The strong fellow who is now steadily winning over the 
finished boxer is not only scientific, but in addition possesses cool- 
ness and judgment to a remarkable degree. He is a fine judge of 
distance, and he seldom wastes a blow. He can feint and draw 
jabs from his opponent which gives him a chance to let fly a shot 
which may win the fight. He does not waste steam on wild 
swings, most of his efforts being uppercuts or straight drives for 
the body or jaw. 

Were he awkward or his attacks ill-judged, the clever man 
would discount his efforts, but his assaults are made with such 
coolness, judgment and precision, the scientist succumbs in nine 
cases out of ten. 

Previous to the advent of James J. Corbett, the plain,-ordin- 
ary slugger of the John L. Sullivan type had everything his way. 
Then came Corbett 's tactics, which baffled the slugger and brought 
a new system of boxing into vogue. 

Then a new combination of cleverness and scientific punch- 
ing has put the fancy boxers in the shade. 

Some new devices will have to be originated in order to 
discount the tactics of the present race of victorious fighters, and 
their appearance will be watched with interest. 





• 



/ iy i 



HEAD DODGING IS EFFECTIVE. 



ART OF BOXING. 73 



# 



CHAPTER XXIX. 

Treatise on Training. 

Every pugilist or trainer of pugilists has his own peculiar 
little wrinkles and ideas which he believes are beneficial to him 
in reaching the acme of physical perfection so essential to success 
in the strenuous profession of fighting, and in the follow- 
ing chapters I shall endeavor to express the opinions of men who 
have become eminent either as fighting men or trainers. 

To be a good trainer a man must be a first-class reader of 
human nature. I don't suppose any two athletes living are of ex- 
actly the same temperament. Some are naturally stout, some 
naturally thin, and then again some are of a nervous, irritable dis- 
position, while others are cool, never getting excited and are good 
natured. 

In the olden days, and in fact up to within a comparatively 
few years every trainer of athletes had a set code of rules for train- 
ing men, and each followed his code out to the letter on every man 
who came under his charge. For you must know that one of these 
old-time trainers would as soon think of cutting his hand off as to 
either forego one rule or add another to his set of training laws, 
which he had learned by heart as a boy and faithfully carried into 
practice as a man. Now I don't pretend to know whether I am 
right or not in saying that I think the trainers of to-day are far in 
advance of those of thirty years ago, but such is my impression, 
and you must take it for what it is worth. In my opinion, as no 
two men are of exactly the same physical condition or tempera- 
ment, no two men ought to be trained exactly alike, for training 
is like medicine, what is one man's cure might be another's poison. 
That is why I say t^iat to be a good trainer a man must be a fine 
reader of human nature, and having been with his man for a time 
in order to find out all his little peculiarities of disposition, etc. , 
should start in to train a man according to the manner in which he 
has read his nature. 




READY TO BLOCK A BODY BLOW. 



ART OF BOXING. 75 



m 



CHAPTER XXX. 
Prof. Mui,doon's Methods. 

Professor William Muldoon, the former champion Grseco- 
Roman wrestler of the world, has had experience in training such 
famous exponents of the fistic art as John I/. Sullivan, Jack Demp- 
sey, Jake Kilrain and " Kid " McCoy, which qualifies him to talk 
intelligently on the subject of training. His own robust appear- 
ance in itself is an indorsement of the methods he employs at his 
sanitarium. The professor tells how he built up the shattered 
physical wrecks of the dissipated or overworked, and placed pugil- 
ists in the ring fit to fight for their lives. 

"There are no rules for training a man. There can be 
none," says he. "Proper training for one man would break down 
another. Individuals and their physical needs vary as widely as 
do the seasons. I have never yet found any two men on whom the 
same treatment would have the same effect. Common-sense ap- 
plication of the laws of nature, plain food, fresh air and out-of-door 
exercise are all that are needed to perfect a man's physical condi- 
tion. 

' * I claim there are no set rules for training, and my method 
is to watch my man and note the effect of the course It is not 
easy to make a mistake if you apply a little common sense to your 
methods. 

' ' When I have a pugilist in training I have him out of bed 
at 8 o'clock every morning. There is no getting out of this. He 
must get up promptl}^ at that hour. Once out of bed he first goes 
through a dumbbell exercise, using one pound bells; then with salt 
water taken from the ocean he is sponged off, after the chill has 
been taken off the water. Then he is given a thorough rubbing 
down, both with hands and towels. After- dressing he goes for a 
short stroll in the sun. Breakfast is ready when he returns. It is 
not an elaborate affair, but consists of cracked wheat or oatmeal 
well cooked, tea and toast, soft boiled eggs, and either a piece of 
fried chicken or one chop. There is but one kind of meat and 
very little of that. 



t 





# 



ii 




JUST BEFORE A CLINCH. 



ART OF BOXING. 77 



m 



"Then for an hour he reads the papers, after which he 
dresses for a walk in good woolen clothes. Particular care is taken 
that his feet are comfortably dressed. He starts out at an easy pace, 
I always try to pick out a new walk every day so that it will prove 
interesting. If possible, I like to have a good many hills to clam- 
ber over, as climbing up and down hill exercises two sets of mus- 
cles. Cross-country runs are the best in the world. A distance of 
seven or eight miles is at first covered, increasing the pace gradu- 
ally. When about one mile from home I start him into an easy 

jog- 

' ' This is kept up until within loo yards of the house, when 
we spurt to the room. Inside the room he is undressed as soon as 
possible and wrapped up in a blanket or robe. Then I give him a 
swallow of hot water and gin or hot lemonade to warm his stomach. 
After a sweat of a few minutes he is rubbed down with coarse 
towels, and again wrapped up in dry blankets. Once more he is 
rubbed down with towels, and then for half a minute stands under 
a salt water shower. 

" Again he is rubbed down; this time the attendant wrings 
his hands until the skin is dry and smooth. Then he dresses in 
good warm clothing, and after half an hour's rest sits down to a 
hearty dinner of boullion, roast beef or mutton, plenty of veget- 
ables and half a pint of good Burgundy, He is not given too much 
meat, as meat makes the stomach feverish. If he is not hungry I 
do not give him anything to tempt his appetite, but let him regain 
it in a natural way For the first two or three weeks I do not give 
him any liquor at all; only boullion or calvesfoot jelly or tea. 
When at weight Burgundy is allowed, but only a pint a day, taken 
at two meals — dinner and supper. After dinner, say two hours 
after, he punches the bag, skips the rope, and spars with me for 
an hour. 

"Then he is sponged off and again rubbed down. Half an 
hour later he has his supper, consisting of apple sauce and fruit, 
toast, half a pint of Burgundy and a piece of cold chicken and jelly. 
The evening I try and make pass as pleasantly as possible in some 
form of amusement, and by nine or ten o'clock he is in bed, after 
having a good hand rubbing. He always sleeps between blankets. 




m 



\ 



A KNOCKOUT PUNCH. 



ART OF BOXING. 79 



s 



I do not insist on his going to bed unless he feels like it, but after 
a day's work he generally likes to rest. Such is the treatment I 
give him. As the time for his engagement draws near he will be 
made to work harder. He will run more and walk faster, and 
punch the bag for a certain number of three-minute rounds with 
the usual one-minute rest. Then I find out what distance he can 
cover in three minutes, and measure it off. I let him run that dis- 
tance, rest a minute, and then run it over again, keeping this up 
for some time. That is how one man would be trained, but the 
same treatment would not agree with another man. 

* ' This stuff about men doing fifteen or twenty miles on the 
road before breakfast is all bosh. They don't do it. It would fag 
them out and break their spirit. 

" Three weeks of actual training should put any one who is 
not afflicted with some organic trouble in good shape, though he 
should have one month's preparation for this training. What I 
mean by preparation is this : If a man has been addicted to liquor, 
cut off his supply. He should go on a sea voyage or out into the 
country, where he can have pure air, rest and quiet. He should 
eat plain, common food, and be regular in his habits. A month of 
this will put him in shape for the work of the training proper. ' ' 




# 



OPENING FOR A KNOCKOUT. 



ART OF BOXING. 81 



CHAPTER XXXI. 
FiTzsiMMONs' Methods. 

"If I were preparing a man for an important battle, ' ' said Bob 
Fitzsimmons, "on first taking charge of my man I would give him 
an emetic, which would cleanse his system from his stomach up, 
and a physic to cleanse him from the stomach down. 

' 'The next morning after giving the emetic I would have my 
physic ready and give it to my man as soon as he rose, and I would 
take care to get him out of bed at sunrise every morning all 
through his training. Now, of course, there are many physics 
which could be given, but most of them are griping in the ex- 
treme, and I would recommend all trainers to try the following, 
which I have found the best in my experience. It is made by mix- 
ing four ounces Epsom salts, two ounces of senna and twelve 
ounces of Spanish licorice. Place the whole in six pints of water 
and, keeping the cover on, boil until the licorice is dissolved. 
Then remove the pot from the fire and place it in water to cool. 
When cold bottle the mixture up tight. This should be given to 
your principal as follows : A small wineglassful every morning be- 
> fore dressing, for the first week ; half a wineglassful every morn- 
ing for the second week ; take the same dose three times the third 
week, and on the fourth take only one dose on Sunday morning. 
This medicine will not weaken a man in the least, but will cleanse 
his system thoroughly. The next thing I would look out for would 
be the man's hands (I am supposing that I am training a man for 
a fight). Pugilists, as a rule, have considerable trouble with their 
hands, as they are often liable to get broken badly in a contest, or 
if a blow is not landed in the way it is intended a bad sprain is 
often the result. Some trainers use a sort of pickling solution 
with which they pickle the hands, face and neck, in order that a 
blow will not cut the skin so readily. If my man had a very ten- 
der skin I might use something to toughen and harden his face, 
but as a rule I don't think that pickling the face and neck does any 
good.' My own skin is very tender, indeed, but I never tried to 
toughen my face by pickling, preferring to use pure alcohol, 
which in a measure answers the same purpose, and is at the same 



^^"^^^^^H 






WW #1 




•1 


K 





% 



CLEVER BLOCK AND BODY PUNCH. 



ART OF BOXING. 83 



time very refreshing. To the hands, however, too much attention 
cannot be paid, and I have found nothing better than corned beef 
brine. This does not smell very nice, it is true, and should be ap- 
plied three times a day after eating. I would never allow my man 
to apply it before eating, as it might affect his stomach, which 
would be bad. But, although the brine does not smell anywhere 
near as good as Florida water, it does the business, and that is all 
that is required. After the brine is applied and well rubbed in, 
the following liniment should also be rubbed in, It can be 
obtained at any first class drug store, and the ingredients are as 
follows ; lyaudanum, three ounces ; spirits of hartshorn, four 
ounces ; alcohol, one quart ; iodine, two ounces ; eucalyptic, 
three ounces. These mixed up together with ten cents worth of 
horseradish and five cents worth of alum, make a liniment which 
cannot be equalled for strengthening and hardening the bone, and 
when applied and well rubbed in it has a tendency to make a man 
feel fresh and strong. 

"I should always start my man on his daily exercise at sun- 
rise. Rising from his bed, he should bathe and carefully brush 
his teeth, after which I would give him an egg well beaten up in a 
small quantity of sherry ; this more to stay his stomach and 
strengthen him until breakfast time than anything else. ^ 

"Then I should take him for a short walk, say of about a 
mile, returning for breakfast, which should be on the table the 
moment we got back. 

' 'The breakfast for my man would consist of dry toast, boiled 
or fried eggs ( and if the latter all fat should be carefully drained 
off from them), and weak tea, without milk or sugar, would com- 
plete the repast. I would then sit down with him and either read 
the daily papers to him or allow him to read them himself until 9 
a. m. , when we should start out on the road for a spin. The read- 
ing of the papers would give both of us something to think and 
talk about while on the road, and thereby relieve the monotony. 
For this spin on the road my man should wear heavy sweaters or 
light ones, whichever I thought best to use, heavy if the weather 
was cool and light if the day was warm. As to the distance, I 
would change that a little every day, going perhaps ten miles (five 




DODGING A STRAIGHT LEAD. 



ART OF BOXING. 85 



miles and five back). But I would take good care not to tire my 
man out too much with his morning spin, as too much running is 
as bad as not enough. Most of the running would be done on the 
homestretch, so that a good perspiration might be gotten up. 
Getting back to the training quarters, I would sit my man down in 
a warm room out of all draughts, so that he would perspire freely, 
and at this time I should give him his beef tea to drink. Now, there 
is only one right way to make beef tea for athletes in training, and 
that is as follows : Two of Mason's preserve jars should be used, 
being careful to get them with very tight fitting covers. Then 
every evening five pounds of round steak should be bought. • Cut 
all the fat off and then cut up the remainder in small bits, say 
about an inch square. Place half in each jar, never putting in any 
water, screw the covers on tightly and place one of the jars in a 
large kettle filled with cold water. This kettle should be placed 
over a good fire and allowed to boil for five or six hours. Then, 
when your man comes in in the morning, take the jar and strain 
the contents through muslin giving him the liquid to drink while 
it is yet warm. Then put on the second jar, and when your man 
gets through his work in the afternoon give him that to drink. 

"If the day was warm when we got in from our morning spin 
I should place my man under a shower bath for about'^ fifteen 
seconds while he is still warm and perspiring, but if the weather 
was cold I would just wipe him off dry with a Turkish towel, and 
then, putting on my hand rubbers, get up a good friction. After 
this I would rub him thoroughly all over with alcohol, putting 
plenty of it on and rubbing up and down until the skin began to 
get dry. Repeating this I would rub until the skin got smooth 
and perfectly dry all over. After this I would give his body, legs 
and arms a good dry hand rub, taking care to rub with the run of 
the muscles and pulling them out like a massage doctor. 

' 'By this time dinner would be ready and my man would get 
a good meal of roast beef or mutton, or perhaps beefsteak with dry 
toast, some calvesfcot jelly, very little vegetables of some sort, 
peas preferred, winding up with some fruit for desseit, as I would 
not allow him puddings or pies. I would give him a little ice 
cream with every meal, but would take care that he got no liquor. 




LEFT HAND BODY LEAD. 



ART OF BOXING. 87 



beer or ale, as I don't think those things are any good for a man in 
training, only serving to make his thirst worse in the long run. 
If he wanted a drink a little weak tea would be good, or, if he 
could drink it, a cup of hot water. In order to keep the fever 
from his stomach I would steep a pound of slippery elm bark in 
hot water, and when he was thirsty give him a little of that. My 
man could have a broiled chicken about three times a week, and I 
would try to make him eat a saucer of stewed California prunes 
every night for his supper, I should consider that milk made as 
hot as possible without boiling would be good for him to drink 
after coming in from a spin or at any other time when he felt 
tired. I would not allow him in female society during the last 
four weeks of his training, and I would neither allow him to smoke 
nor chew tobacco, and would not allow others to smoke in the 
apartments in which my man was sitting or sleeping. These latter 
would injure his wind and that is one of the worst things which 
could happen to him. 

"But I left off with the work at dinner time and am digress- 
ing. After resting a short while to digest his dinner, I would set 
my man to work swinging clubs, using dumbbells and perhaps 
skipping the rope, as this latter exercise is very good for strength- 
ening the legs and has a tendency to make a man quick, both with 
his feet and hands. After this he should punch the ball and spar 
with me for at least an hour, when he would be given his second 
drink of beef tea and then rest until supper time. The supper 
should be light, consisting, perhaps of dry bread or toast, weak 
tea, cold beef or mutton and stewed prunes and an apple or 
orange. I would do my best to find a cook who knew his or her 
business, and all of the food should be made to look as inviting as 
possible, without putting too much salt, pepper, spices, grease or 
butter on it. 

' 'As for bed time, my man should retire at eight o'clock sharp, 
so as to give him plenty of time for sleep. His bedroom should 
be well aired and situated on the sunny side of the house, where 
the first ray of the sun woidd strike in the morninr." 






JAMES J. JEFFRIES, 
HEAVYWEIGHT CHAMPION OF THE WORLD. 



ART OF BOXING. 89 



CHAPTER XXXII. 

A Good Second is Invai.uabi.k. 

, It is not always the best trainers who are the best seconds, 
or the best pugilists, either, for that matter. I have seen some 
men who could not be beaten as trainers, and others who were and 
are to-day at the top of their respective classes in pugilism, who 
have made dismal failures as seconds for other pugilists. There is 
a certain knack about it which they cannot get on to, and while 
the latter class, when they are fighting, know to a nicety just how 
good or how poorly they are being taken care of by their seconds, 
when they come to take charge of the sponge and towel them- 
selves they do not seem to know how to w'ork their man to 
the best advantage, what to say to encourage him when he is in or 
near his corner. On the other hand I have seen the veriest "dub" 
of a boxer, or even persons who did not pretend to box at all, who, 
as seconds for other men, could not be beaten. They would an- 
ticipate their principal's every thought, whisper words of encourage- 
ment in his ear, and finally bring him out a winner. 

Now, I am fully aware of the fact that all the seconding in 
the world would not bring a man out of a battle a victor unless he 
had the requisite gameness and the hitting powers. But I can say 
this much, that I have seen many fights in which, in my opinion, 
the inferior man won because he was well seconded, while his 
opponent, all things being even, should be the better man, being 
poorly seconded, got discouraged, winded, played out, and finally 
was at the mercy of the inferior man. True, some fighters scarcely 
need any one to look after them in their corners as they are careful 
never to get excited and calculate the effect and consequences of 
every lead they make. Then, again, there are other fighters who, 
when they receive a few punches, lose all control of their own 
temper, and go at their adversary like a bull at a gate, tire them- 
selves out, and stand a very good chance of being defeated w^ere it 
not for their seconds, who, not having received the punching, are 
cool and collected and can see and be able to tell their man what 
to do and what not to do. 




JAMES J. CORBETT, 
FORMER HEAVYWEIGHT CHAMPION. 



ART OF BOXING. 91 



CHAPTER XXXIII. 
DuTiKS OF THE Second. 

The duties of the second who handles the principal in a 
boxing contest or prize fight, should begin at least six hours before 
the time for entering the ring. Then he takes charge of his "man" 
and never allows him out of his sight until after the fight. He 
should also, himself, prepare and procure everything that the 
principal eats and drinks, or have some trustworthy person to do 
it, as there are«alwayB people who have their money on the other 
side while pretending to be your friends, and they are mean enough, 
some of them, to try and dose your man. A second cannot be too 
careful about these things. Just as soon as your man is put under 
your charge get everything together which you will need when in 
the ring, and do not let these things out of your sight, for they 
might be tampered with. 

Now, the things I consider necessary to take to the ringside 
are one bottle of slippery elm bark tea, a small tongue sponge and 
scraper, two bottles of beef tea made from five pounds of round 
steak, a bottle of alcohol, a couple of turkish towels and, perhaps 
a fan, although the towels will answer the purpose of body sponge, 
towel and fan, too. Some fighters think that a bottle of cold tea, 
or a bottle of some sort of spirits, is good to have at liie ringside, 
but I don't think that either of them is nearly so good as the beef 
tea, which will strengthen your man greatly while he is in the 
ring, and he will be gaining weight and strength as the battle 
progresses. Ordinary tea will not do this, and as for brandy or 
whiskey, they are worse than bad, for while a drink of the stuff 
will liven or exhilarate your min for a moment, the next minute 
he will be worse off than before,*and if you keep giving it to him 
he will be very drunk in a short time, as it only takes a small 
quantity of spirits to intoxicate a man who is in condition. Once 
drunk, you might as well throw up the sponge, for a drunken man 
can't fight within twenty- five per cent, of a sober one. Take my 
advice and use the beef tea. You will find it is tho best in the 
long run. About an hour before the time for the contest you 
should give your man a good alcohol rub, using plenty of alcohol. 




ROBERT FITZSIMMONS, 
CHAMPION LIGHT-HEAVYWEICHT OF THE WORLD. 



ART OF BOXING. 93 



and after this is well rubbed in, follow it up with a good hand 
rubbiug, being careful to rub with the run of the muscles. 

For all important contests a man should have at least three 
men in his corner when he is fighting. Two of these should be 
seconds and the third bottle holder. One of the seconds, in all 
cases the one with the most experience, should be the adviser, 
and he should do all the talking to the principal during the con- 
test, neither the other second, the bottle-holder nor any outsider 
being allowed to say a word to the principal. This is to prevent 
the man from becoming confused and losing his head, as he would 
be almost sure to do if he had three or four people all trying, to 
talk to him and advise him when he was in his corner. 

The other second should make it his business to look out for 
the chair, having it out of the ring as soon as possible after his 
man leaves it and having it back there ready for his man whenever 
it is required. The bottle-holder should stay out of the ring all 
the time, and at no time allow the bottles to get out of his sight ; 
it is his duty to watch the bottles and not the fight, and if he has 
the interests of his man strictly at heart he will do this, as it is 
often very easy for an evil-minded person to drop a little of some- 
thing into one of the bottles, and this would in all likelihood lose 
the fight, as the principal would soon be affected by it. 

The advising second should never, while the fight is in pro- 
gress, take his eyes off his principal's opponent, so as to see that 
he does not commit any fouls without their being seen and claimed. 
Of course, not fighting himself, he could see all the weak points 
in his man's adversary, and should instruct his principal to the 
best of his ability as to how to get at his man, the openings to take 
advantage of, and all the many other little points which he would 
be sure to see quicker than his man, and which, if taken advantage 
of immediately, would perhaps do everything toward making his 
man win the battle. Of course, it is imperative that the advising 
second should be an experienced man, not necessarily an experi- 
enced boxer, but an experienced second. 

At the call of time at the commencement of every round 
both seconds should put their hands under their man's arms and 
lift him bodily out of his chair onto his feet. This should, of 




JOHN L. SULLIVAN, 
CHAMPION OF ALL CHAMPIONS. 



ART OF BOXING. 95 



course, be done gently, and without any jerk. It saves the princi- 
pal the exertion of getting up, and although you may think that 
is a very small bit of exertion, still everything helps in a battle, 
and a man needs all the strength there is in him while he is in 
front of his opponent, and in a long fight even these little things 
will help your man a good deal. One of the seconds should be 
careful to watch the opponent's corner when he is there during 
the rest between rounds, as many a little crooked thing can be 
done in the corner and would pass unnoticed. If anything sus- 
picious is seen there no time should be lost in calling the attention 
of the referee to it. As I have said before, be very careful in 
looking out for fouls, and don't allow your man to be fouled 
in any way with elbow, knee or head. 

When your man is resting between the rounds be careful 
and never get your hands near his mouth or nostrils so that any 
air will be shut off from him. Give him every possible chance to 
breathe long, full breaths, instruct him to do so while in his cor- 
ner, and also to do so at every opportunity while he is in the ring, 
and he will find lots of chances when either he or his opponent is 
breaking ground. It is always advisable not to sponge your man 
off while he is perspiring very freely ; a good sweat will do him 
good, as it freshens a man up and makes him feel more like work- 
ing. After a contest the best thing a second can do is to at once 
take his man to a Tu.rkish bath, where he can have a good hot 
sweat and a hard rubbing; this will do much to prevent him from 
being sore and his flesh from becoming black and blue where he 
has been hit. 

He should be kept from all draughts, cold winds and from 
liquor of all kinds. If it is in the power of the second he should 
also keep his man out of bad company, as many of the best athletes 
who ever lived have gone to an early grave from these two last 
named causes. As no class of people are so open to temptation 
as successful athletes, it becomes harder to resist, I suppose ; but 
when you find one of these men who can and has resisted all 
temptations, you will always find him at or near the top of his 
class, no matter what his line of athletics may be 




WM. ROTHWELL (YOUNG CORBETT), 
128 LB CHAMPION. 



ART OF BOXING. 97 



CHAPTKR XXXIV. 
What Causks a Knockout. 

There is no immunity from a knockout blow. Any man, 
when hit in the proper place with sufficient force, will become in- 
sensible long enough to permit the referee to count him out. A 
blow on the point of the lower jaw is the favorite knockout punch. 
The result does not come from a jarring of the nerves, as many 
believe. When the lower jaw is hit hard enough it shoots back. 
It comes in contact with the jugular vein. The flow of blood is 
temporarily stopped ; the blood rushes back of the brain, and 
temporary congestion ensues ; this renders a man insensible for a 
time ; until the blood flow readjusts itself one is practically out of 
existence. 

A man of the physique of Tom Sharkey or Jim Jeffries does 
not apparently succumb to this knockout blow. This is not be- 
cause either man cannot be knocked out. 

The truth is that men of their prodigious strength are able 
to resist the ordinary blow\ If they are ever hit hard enough the 
dazed effect will follow. But a man w^o is muscular has his 
bulwark of muscles to stand off the average blow. With jaws set 
properly, the muscles of the jaws of a Jeffries or Sharkey will re- 
sist a punch that would knock out another person. Although it 
might shake them up, it will not send them out of a battle. Most 
fighters realize this. No boxer will let pass an opportunity to 
cause a nose bleed. Once the nasal organs are interfered with by 
a flow of blood, a man is compelled to breathe through his mouth. 
This leaves his jaw less formidable. He has not the same purchase, 
and the lower jaw may be forced back to the jugular more easily. 

The strength of the muscles controlling the lower jaw is 
underestimated. In some men it is as great as the strength of the 
lower forearm, and in consequence they are able to take a thrust 
without wincing that would end another person's career for the time 
being. Few of the blows which appear to land on the right spot 
really do. When Jeffries fights he holds his head ac a peculiar 
angle with his chin close to the body. In this position a smite on 
the jaw bone will tilt his head over but will not drive back his jaw. 




BEN JORDAN, 
FEATHERWEIGHT CHAMPION OF ENGLAND. 



ART OF BOXING. 99 



Or if the punch is not accurate it will glance off and over his 
shoulder. Almost the same fact applies to Sharkey. He realizes 
the danger of a terrific swing that will shoot back his lower jaw 
and always holds his head set firmly to lessen the effect of a pos- 
sible crash. It does not follow, however, that these tactics offset 
the chance of a knockout Kvery fighter forgets these rules and 
methods when there is a mixup. His carefully laid plans are cast 
to the winds. And then it is that the properly aimed drive on the 
jaw connects with the jugular vein, shuts off that steady flow of 
blood, rushes back to the brain and brings about a condition of 
congestion which obtains just long enough to unfit a man for 
further fighting at the time. 

This is not the only species of a knockout, however. ,A 
severe blow on the jaw sometimes, but not frequently, communi- 
cates with the medulla oblongaita at the base of the brain and a 
momentary paralysis takes place. Then again, there is the so- 
called solar plexus blow which is said to have defeated Corbett at 
Carson City. The plexus system is so located that I believe it is 
very difiicult to attack it with a blow. But the punch in the 
stomach affects the diaphragm ; it agitates it so that breathing 
is impossible for the time, and a man may be counted out from a 
strong blow there. 




TERRY MCCOVERN, 
FORMER FEATHERWEIGHT CHAMPION OF THE WORLD. 



ART OF BOXING. 101 



CHAPTER XXXV. 
How To Savk Time:. 

There are several little tricks for saving and gaining time, and 
I will describe one or two of them. "Those who may chance to 
read this, who have seen my fights," said Fitzsimmons to the 
writer, "may have noticed that when the gong sounded at the 
close of the rounds my opponent has been in my corner oftener 
than I have been in his. This may have seemed accident, but it 
was not, for that is one of the best tricks for gaining time that I 
know. Don't you see, if you think it is getting near the end of a 
round and you have your opponent over in your corner, when the 
gong rings he will have to walk the entire distance diagonally 
across the ring, while all you have to do is turn around and sit 
down. 

" Consequently you will be resting and receiving the atten- 
tion of your seconds at least three or four seconds before he will, and 
he will be walking those three seconds. Now, although that may 
seem a very short gain of time, still in a long fight, say of forty 
rounds, allowing three seconds to the round, it would give you two 
full minutes more rest than your opponent, which I can assure you 
is worth figuring on. A man can also gain a second or two at the 
opening of a round by waiting until his opponent gets out of his 
chair and has started to come to the centre before he rises. Then 
he should never use up any of his own strength in rising from his 
chair, but should have his seconds each put a hand under his arms 
and lift him from the chair to an erect position. This will help a 
tired man materially, as all his vStrength will be needed when in 
front of his man. 

"Above all things, make your opponent do all the walking 
backward possible, as it will tire him out quicker than anything else. ' ' 




FRANKIE NEIL, 
BANTAM CHAMPION OF AMERICA. 



ART OF BOXING. 103 

CHAPTER XXXVI. 
RKVISED Qukensberry RuIvKS. 

RuivK I. — The ring shall be roped, and 24 feet square. 

2.— Competitors to box in light boots or shoes (without 
spikes), or in socks', with knickerbockers, breeches or trousers, and 
wear jerseys. 

3. — The result shall be decided by two judges, with a referee, 
or by a referee only. 

4. — The number of rounds to be contested shall be three. 
The duration of the first two rounds shall be three minutes, and 
of the final round four minutes, and the interval between' each 
round shall be one minute. 

5. — Any competitor failing to come up when "Time" is 
called shall lose the bout. 

6. — Where a competitor draws a bye, he shall be bound to 
spar such bye for the specified time, and with such opponent as the 
judges or referee may approve. 

7. — Bach competitor shall be entitled to the assistance of one 
attendant only, and no advice or coaching shall be given to any 
competitor by his second, or by any other person during the pro ■ 
gress of any round. 

8. — The referee shall have power to give his casting vote 
when the judges disagree, or to stop the contest in either the 
second or third round in the event of it being very one-sided ; and 
he can further order a fourth round, limited to two minutes, in the 
event of the j udges disagreeing. 

9. — That the decision of the judges or referee, as the case 
may be, shall be final, and without appeal, 

10. — The referee may, after cautioning the offender, dis- 
qualify a competitor who is boxing unfairly by flicking or hitting 
with the open glove, by hitting with the inside or butt of the hand, 
the wrist or elbow, or by wrestling, or roughing at the ropes. 

II. — In the event af any questions arising not provided for in 
these rules, the referee to have full power to decide such question, 
and his decision to be final. 




JOE CANS, 
LIGHTWEIGHT CHAMPION OF AMERICA. 



ART OF BOXING. 105 

CHAPTiBR XXXVII. 
London Prize-Ring Ruizes. 

Rui^E I — That the ring shall be made on turf, and shall be 
four-and-twenty feet square, formed of eight stakes and ropes, the 
latter extending in double lines, the uppermost line being four feet 
from the ground, and the lower two feet from the ground. That 
in the centre of the ring a mark be formed, to be termed a ' 'Scratch. ' ' 

2. — That each man shall be attended to the ring by two 
seconds and a bottle-holder. That the combatants, on shaking 
hands, shall retire until the seconds of each have tossed for choice 
of position, which adjusted, the winner shall choose his corner 
according to the state of the wind or sun, and conduct his man 
thereto ; the loser taking the opposite diagonal corner. 

3. — That each man shall be provided with a handkerchief of 
a color suitable to his own fancy, and that the seconds shall en- 
twine these handkerchiefs at the upper end of one of the centre 
stakes. That these handkerchiefs shall be called "Colors," and 
that the winner of the battle at its conclusion shall be entitled to 
their possession as the trophy of victory. 

4. — That two umpires shall be chosen by the seconds or 
backers to watch the progress of the battle, and take exception to 
any breach of the rules hereafter stated. That a referee shall be 
chosen by the umpires, unless otherwise agreed on, to whom all 
disputes shall be referred; and that the decision of this referee, 
whatever it may be, shall be final and strictly binding on all parties, 
whether as to the matter in dispute or the issue of the battle. That 
this official shall receive out of the stakes a sum of 5 per cent, 
for officiating, such sum to be deducted by the stakeholder either 
from the amount of the winnings in the case of a win, or in equit- 
able proportions from each stake in the event of a draw. No pay- 
ment to be made in the event of a forfeit or of the referee not being 
called upon to act. That the umpires shall be provided with a 
watch for the purpose of calling time ; and that they mutually 
agree upon which this duty shall devolve, the call of that umpire 
only to be attended to, and no other person whatever, except the 
referee when appealed to, shall interfere in calling lime. That the 





1. 





GEORGE GARDINER, 
FORMER LIGHT-HEAVYWEIGHT CHAMPION. 



ART OF BOXING. 107 

referee shall withhold all opinion till appealed to by the umpires, 
and that the umpires strict!}^ abide by his decision without dispute. 

5, — That on the men being stripped, it shall be the duty of 
the seconds to examine their drawers, and if any objection arises 
as to, insertion of improper substances therein, they shall appeal to 
their umpires, who, with the concurrence of the referee, shall 
direct what alterations shall be made. 

6. — That the spikes in the fighting boots shall be conlGlned to 
three in number, which shall not exceed three-eighths of an inch 
from the sole of the boot, and shall not be less than one-eighth of' 
an inch broad at the point; two to be placed in the broadest part of 
the sole and one in the heel; and that in the event of a man wear 
ing any other spikes either in the toes or elsewhere, he shall be 
compelled either to remove them or provide other boots properly 
spiked, the penalty for refusal to be a loss of the stakes. 

7. — That both men being ready, each shall be conducted to 
that side of the scratch next his corner previously chosen ; and the 
seconds on the one side, and the men on the other, having shaken 
hands, the former shall immediately leave the ring, and there re- 
main till the round be finished, on no pretense whatever approach- 
ing their principals during the round, without permission from the 
referee. The penalty to be the loss of the battle to the offending 
parties. 

8. — That at the conclusion of the round, when one or both 
of the men shall be down, the seconds shall step into the ring and 
carry or conduct their principal to his corner, there affording him 
the necessary assistance, and that no person whatever be permitted 
to interfere in his duty. 

9 — That on the expiration of thirty seconds the umpire ap- 
pointed shall cry "Time." upon which each nian shall rise from 
the knee of his second and walk to his own side of the scratch un- 
aided ; the seconds immediately leaving the ring. The penalty for 
either of them remaining eight seconds after the call of time to be 
the loss of the battle to his principal; and that either man failing 
to be at the scratch within eight seconds shall be deemed to have 
lost the battle. 

10. — That on no consideration whatever shall any person, 




TOMMY FELTZ, 
CLEVER FEATHERWEIGHT PUGILIST OF BROOKLYN. 



ART OF BOXING. 109 

except the seconds or the referee, be permitted to enter the ring 
during the battle, nor till it shall have been concluded; and that in 
the event of such unfair practice, or the ropes or stakes being dis- 
turbed or removed, it shall be in the power of the referee to award 
the victory to that man who, in his honest opinion, shall have the 
best of the contest. 

II. — That the seconds shall not interfere, advise, or direct the 
adversary of their principal, and shall refrain from all offensive 
and irritating expressions, in all respects conducting themselves 
with order and decorum, and confine themselves to the diligent 
and careful discharge of their duties to their principals. 

12. — That in picking up their men, should the seconds will- 
fully injure the antagonist of their principal, the latter shall be 
deemed to have forfeited the battle on the decision of the referee. 

13 — That it shall be a fair ' ' stand up fight, ' ' and if either 
man shall willfully throw himself down without receiving a blow, 
whether blows shall have previously been exchanged or not, he shall 
be deemed to have lost the battle; but that this rule shall not apply 
to a man who in a close slips down from the grasp of. his opponent 
to avoid punishment, or from obvious accident or weakness. 

14. — That butting with the head shall be deemed foul, and 
the party resorting to this practice shall be deemed to have lost 
the battle. 

15. — That a blow struck when a man is thrown or down shall 
be deemed foul. That a man with one knee and one hand on the 
ground, or with both knees on the ground, shall be deemed down ; 
and a blow given in either of those positions shall be considered 
foul, providing always that, when in such position, the man so 
down shall not himself strike or attempt to strike. 

16. — That a blow struck below the waistband shall be deemed 
foul, and that, in a close, seizing an antagonist below the waist, by 
the thigh, or otherwise, shall be deemed foul. 

17. — That all attempts to inflict injury by gouging, or tear- 
ing the flesh with the fingers or nails, and biting, shall be deemed 
foul. 

18. — That kicking, or deliberately falling on an antagonist 
with the knees or otherwise when down, shall be deemed foul. 




JACK JOHNSON, OF GALVESTON, 
COLORED HEAVYWEICHT CHAMPION OF THE WORLD. 



ART OF BOXING. Ill 

19. — That all bets shall be paid as the battle money, after a 
fight, is awarded 

20. — The referee and umpires shall take their positions in 
front of the center stake, outside the ropes. 

21. — That due notice shall be given by the stakeholder of the 
day and place where the battle money is to be given up, and that 
he be exonerated from all responsibility upon obeying the direction 
of the referee ; that all parties be strictly bound by these rules ; 
and that in future all articles of agreement for a contest be entered 
into with a strict and willing adherence to the letter and spirit of 
these rules. 

22. — That in the event of magisterial or other interference, 
or in case of darkness coming on, the referee [or stakeholder in 
case no referee has been chosen] shall have the power to name the 
time and place for the next meeting, if possible on the same day, 
or as soon after as may be. In naming the second or third place, 
the nearest spot shall be selected to the original place of fighting 
where there is a chance of its being fought out 

23. — That should the fight not be decided on the day all bets 
shall be drawn, unless the fight shall be resumed the same week, 
tetween Sunday and Sunday, in which case the referee's duties 
shall continue, and the bets shall stand and be decided by the 
event. The battle money shall remain in the=> hands of the stake- 
holder until fairly won or lost by a fight, unless a draw be mutu- 
ally agreed upon, or, in case of a postponement, one of the princi- 
pals shall be absent, when the man in the ring shall be awarded 
the stakes. 

24.— That any pugilist voluntarily quitting the ring, previous 
to the deliberate judgment of the referee being obtained, shall be 
deemed to have lost the fight. 

25. — That on an objection being made by the seconds or um- 
pire the men shall retire to their corners, and there remain until 
the decision of the appointed authorities shall be obtained ; that if 
pronounced "foul," the battle shall beat an end; but if "fair," 
"time" shall be called by the party appointed, and the man ab- 
sent from the scratch in eight seconds after shall be deemed to 
have lost the fight. The decision in all cases to be given promptly 






I, 

WW' 
m » 



I^H; # 




TOMMY RYAN, (JOS. YOUNGS), 
CHAMPION MIDDLEWEIGHT OF AMERICA. 



ART OF BOXING. 113 



and irrevocabl}', for which purpose the umpires and the referee 
should be invariably close together. 

26. — That if a man leaves the ring, either to escape punish- 
ment or for any other purpose, without the permission of the 
referee, unless he is involuntarily forced out, shall forfeit the 
battle. 

27 — That the use of hard substances, such as stones, or sticks 
or of resin in the hand during the battle, shall be deemed foul, 
and that on the requisition of the seconds of either man the ac- 
cused shall open his hands for the examination of the referee. 

28 — That hugging on the ropes shall be deemed foul. That 
a man held by the neck against the stakes, or upon or against the 
ropes, shall be considered down, and all interference with him in 
that position s:hall be foul. That if a man in any way makes use 
of the ropes or stakes to aid him in squeezing his adversary, he 
shall be deemed the loser of the battle ; and that if a man in a 
close reaches the ground with his knees, his adversary shall im- 
mediately loose him or lose the battle. 

29 — That all glove or room lights be as nearly as possible in 
conformity with the foregoing rules. 



#.'^^. 



^H^:'..^ 




'■5'^fC- 
J 



::a#" 



JOE WALCOTT, 
CHAMPION WELTERWEIGHT OF AMERICA. 



ART OF BOXING. 115 

CHAPTER XXXVIII. 

Amateur Athi^etic Union Rui.es. 

I. — In all open competitions the ring shall not be less than 
i6 feet or more than 24 feet square, and shall be formed of 8 stakes 
and ropes, the latter extending in double lines, the uppermost line 
four feet from the floor and the lower line two feet from the floor. 

2 — Competitors to box in regulation athletic costume, in 
shoes without spikes, or in socks, and to use boxing gloves of not 

*more than 8 ounces in weight. 

3 — Weights to be : Bantam, 105 lbs. and under; Feather, 
115 lbs. and under; Light, 135 lbs. and under; Middle 158 lbs. and 
under; Heavy Weight, 158 lbs and over. 

4 — Any athlete who weighs in and then fails to compete, 
without an excuse satisfactory to the Games Committee, shall be 
suspended for six months. 

5. — In all open competitions the result shall be decided by 
two judges with a referee. A time-keeper shall be appointed. 

6. — In all competitions the number of rounds to be con- 
tested shall be three. The duration of rounds in the trial bout 
shall be limited to three minutes each. In the ' ' finals, ' ' the first 
two rounds will be three minutes each, and the final round four 
minutes. The interval between each round shall be one minute. 

7. — In all competitions, any competitor failing to come up 
when time is called shall lose the bout. 

8. — Immediately before the competition each competitor 
shall draw his number and compete as follows : To have a pre- 
liminary round of as many contests as the total number of contest- 
ants exceeds 2, 4, 8, 16 or 32, and drop the losers. This leaves in 
2, 4, 8, 16 or 32 contestants, and the rounds then proceed regularly 
with no byes or uneven contests. 

9. — Bach competitor shall be entitled to the assistance of 
one second only, and no advice or coaching shall be given to 
any competitor by his second, or by any other person during the 
progress of any round. 

10. — The manner of judging shall be as follows : The two 
judges and referee shall be stationed apart. At the end of each 




ARTHUR KEELEY, 
SCIENTIFIC BAG PUNCHER. 



ART OF BOXING. 117 

bout, each judge shall wri!e the name of the competitor who in his 
opinion has won, and shall hand the same to the announcer (or 
master of ceremonies). In case the judges agree, the master of 
ceremonies shall announce the name of the winner, but in cases 
where the judges disagree, the master of ceremonies shall so in- 
form the referee, who shall thereupon himself decide. 

II. — The referee shall have power to give his casting vote 
when the judges disagree to caution or disqualify a competitor for 
infringing rules, or to stop a round in the event of either man 
being knocked down, providing that the stopping of either of the 
first two rounds shall not disqualify any competitor from compet- 
ing in the final round to decide the competition in the event of 
either man showing so marked a superiority over the other that a con- 
tinuation of the contest would serve only to show the loser's ability 
to take punishment. And the referee can order a further round, 
limited to two minutes, in the event of the judges disagreeing. 

12. — The decision of the judges or referee, as the case may 
be, shall be final. 

13. — In all competitions the decision shall be given in favor 
of the competitor who displays the best style, and obtains the 
greatest number of points. The points shall be : For attack, 
direct clean hits with the knuckles of either hand, on any part of 
the front or sides of the head, or body above the belt ; defense, 
guarding, slipping, ducking, counter-hitting or getting away. 
Where points are otherwise equal, consideration to be given the 
man who does most of the leading off. 

14. — The referee may disqualify a competitor who is boxing 
unfairly, by flicking or hitting with the open glove, by hitting 
with the inside or butt of the hand, the wrist or elbow, hitting or 
catching hold below the v\^aist, or hitting when down (one knee and 
one hand or both knees on the floor), butting with the head or 
shoulder, wrestling or roughing at the ropes, using offensive and 
scurrilous language, or not obeying the orders of the referee. 

15 — All competitors who have been beaten by the winner 
shall be entitled to compete for second place, and all who have 
been beaten by the winners of either first or second place shall be 
entitled to compete for third place. 




RICHARD K. FOX $5,000 DIAMOND BELT, 

EMBLEMATIC OF THE HEAVYWEIGHT PUGILISTIC 

CHAMPIONSHIP OF THE WORLD. 



ART OF BOXING. 119 



i6. — Any athlete who competes in a boxing contest of more 
than four rounds shall be suspended for such stated period as may 
be determined by the Board of Managers of the association of the 
A. A. U in whose territory the offense was committed. 

17. — In the event of any question arising not provided for 
in these rules, the referee to have full power to decide such ques- 
tion or interpretation of rule. 




BELLE CORDON, 

CHAMPION LADY BAG PUNCHER OF THE WORLD AND 

HOLDER OF POLICE GAZETTE CH AIVIPJONSHIP MEDAL. 




ART OF BOXING. 131 



Bag ptii^cl^ii}! 



As an incident to the training considered necessary in the 
prehminary preparation for a contest, bag-punching probably aids 
a boxer more than any other form of exercise that he participates 
in. Its uses are manifold, for it trains the eye to accuracy, enables 
a man to gauge the distance of a blow, strike quickly and precisely; 
it exercises every muscle in the body, increases strength and activity 
combines every essential feature of a fistic engagement, barring the 
punched and battered physiognomy which usually characterizes 
a devotee of the manly art. The exercise consists in hitting an 
inflated leather bag about the size of an Association football with 
the naked fists or with gloves manufactured for the purpose. 
To such a pitch of popularity has the game now reached that it has 
become a recognized fad among professional boxers, and the in- 
dulgence in the exercise, too, among people fn general who want 
an appliance for home training is gaining general favor and 
making rapid advances. 

To the professional and amateur athlete, especially the am- 
bitious boxer, this form of exercise is by no means easy of attain- 
ment, and it requires careful study and plenty of work to become 
proficient. All the noted boxers pride themselves on their skill 
as bag punchers, but the only woman who has ever acquired 
sufficient proficiency to merit consideration as a professional is 
Miss Belle Gordon, who in an open contest against all comers won 
the Poi^iCE^ GazkTTK trophy, emblematic of the championship. 

Bag punching as a sport is a comparatively new institution. 
The real originator of it will probably never be known but the 
lowly sphere of to-day owes its origin to the ungainly big sack 
resembling the tackling dummy used by present day footballists. 




ADDRESSING THE BALL. 



ART OF BOXING 123 



These were to be found years ago in the training equipment of 
every English pugilist. It comprised a horseskin bag filled with 
sand, weighing about loo pounds, about as tall as a man and 
usually swung from a cross-beam in the ceiling of the training 
quarters. Punching against the hard substance was supposed to 
improve a man's hitting powers, harden the knuckles of the hand, 
and the muscles of the arm. A modified type of this bag was in 
use 30 years ago in all the public gymnasiums in this country. 
These weighed twelve, fifteen, and thirty pounds, made of canvas 
and stuffed with chamois, oakum or excelsior. They were generally 
suspended from beams about twelve or fourteen feet high, and any- 
one who could knock them over the beam earned the reputation of 
a hard puncher. 

But this style of bag proved the most dangerous appliance 
in the gymnasium, for anyone who had not the proper idea of 
punching surely came to grief by spraining his wrist. 

, To Prof. Mike Donovan, once middleweight champion pugil- 
ist of America, is given the credit of introducing what was then 
known as the lively ball. A well known historian of the ring says 
that in 1876 Donovan was training for his fight with McClelland 
for the middleweight championship of America at San Francisco, 
and as a part of his exercise used the punching bag. There were 
no India rubber bladders in those days, and Mike kept his trainers 
busy securing cow bladders from the slaughter houses in the 
vicinity of Frisco. 

The bags used b}^ Donovan weighed 5 or 6 pounds and were 
awkward, ungainly affairs but admirably served the purpose for 
which they were intended. Then the genius of man devised the 
rubber bladder, the use of specially prepared light leather, the 
platform and sounding table, ball bearing swivels, etc. , etc . Bag 
making is quite as^ much an art as bag punching. Only selected 
skins can be used and only the choicest part. The leather is cut 
in forms, after being thoroughly stretched, and the grain of the 
leather should all run one way, This will insure a uniform round- 
ness and the stitches will draw out evenly after the bladder is in- 
flated. 

A professional bag punching outfit similar to the one shown 




HAND AND ELBOW BAG PUNCHING. 



ART OF BOXING. 125 



in the cuts is quite expensive, but for home use a very serviceable 
and satisfactory platform can be purchased for |io ; add to the cost 
of a good ball I5.00, a pair of striking gloves |2.oo, and the ag- 
gregate represents a moderate investment which will pay for itself 
many times over in added health and increased strength accruing 
from the exercise which the owner is sure to indulge in. A variety 
of movements and blows may be learned. These will be described 
in detail in the following chapters. It is needless almost to say 
that in bag-punching as in every other ait, practice is essential to 
success. 

The amount of work to be done on the bag depends largely 
on the temperament and condition of the individual. About four 
or five three-minute rounds will be found a very good plan, or even 
two spells of fifteen minutes will be found to suit most people. 
Some very prominent bag punchers punch without intermission 
until they are tired, and this constitutes their work for the day. 
Whichever system is found to be most acceptable should be ad- 
hered to without the slightest variation, and when a man begins to 
tire he should quit, no matter what method he adopts ; but by 
assiduous practice and a little care, and f ome attention to the rules 
offered in this book, he should, after about three months become a 
tolerably fair artist at bag punching. 

Position and I^kad. 

The ball lazily swinging below the disc with the centre just 
below the level of the eyes invites attention and the hitter ad- 
dresses it in the position he would assume if sparring with an 
opponent, with the left foot about eighteen inches in advance of 
the right. The knees should be held rigid, with the toes pointing 
slightly outward. "" The body should assume an easy balance, with 
the head erect and the shoulders drawn slightly backward. The 
right hand should be held across the breast, but advanced slightl3^ 
At the same time the left should be extended with the glove about 
level with the shoulder and the elbow somewhat forward of the hip 
joint. The hitter should stand at such a distance from the bag — 
neither too close nor too far off — that he will be at all times within 



1 ^ ^ m 1 


■ 


;^^:: ;;:'|i|!:f JIRHb^H^h 


*^' ^■.■'^:::/ ■ '■'!? 





RIGHT AND LEFT HOOKS. 



ART OF BOXING. 127 



easy reach of it. Begin the exercise with a left lead by stepping 
forward, at the same time striking out straight from the left 
shoulder, aiming for the centre of the ball, and throwing the 
weight of the body into the blow. In striking thus, the head 
should be turned slightly to the right with the right forearm held 
across the wind. Avoid a counter from the bag. After delivering 
the blow spring back quickly into the original position, and in- 
stantly repeat the lead. One fault with all beginners, is that t^ey 
do not hit the bag straight, and in that case it is at all times liable 
to fly off the wrong way and returning at a wrong angle may strike 
the puncher's face. But avoiding these irregular returns of the 
sphere will be a capital practice in the art of " ducking." When 
the bag is struck, it flies to the platform and rebounds back to the 
striker and — if he does not hit it — to the platform over his head. 
A very good practice is to strike it when returning for the third 
rebound. 

The right hand is used in the same manner, only with the 
right foot advanced instead of the left and striking with the right 
hand. 

Make the bag go through the same evolutions as in the left 
lead, and each practice spell in right leading should conclude with 
a few alternates of right and left. If, at the first attempts of alter- 
nate striking the puncher fails in matters of distance, accuracy and 
precision, he should not get rattled. He will be rewarded by a 
little perseverance. 

"Tattoo." 

One of the most effective displays in an exhibition of bag 
punching is beating the tattoo, as the alternate striking of the left 
and right hand, keeping the ball rebounding on the side of the 
disc, is called. This can easily be acquired after the striker has 
become moderately proficient in hitting the ball stronger, standing 
almost under the centre of the platform, he hits the ball causing it 
to rebound lightly and the hitter should meet it lightly, using left 
and right alternately. Then the right should be used for about 
a dozen taps, and the left the same way, and again the alternate 




ELBOW WORK WITH TWO BALLS. 



ART OF BOXING. 129 



tapping of left and right. A continuation of the tattoo is what has 
been latterly termed the ' ' tattoo ' ' punch. This is executed by 
overlapping the arms so that the fist of the right will be directly 
over the elbow of the left and vice-versa with the left hand, but 
held, of course, underneath the right. Out of the tattoo may be 
developed a series of hook blows, half-hooks delivered with both 
hands. Blows which are useful to a fighter but not effective in 
punching the bag. 



Right and IvEFT Swings. 

The right half-arm swing is accomplished by stepping to 
your left from the regular position with your left foot, bending 
both knees and twist your body, throwing all the weight you are 
capable of in the one direction, and make as near a one movement 
of it as possible. In executing the blow you follow on a direct 
line with your left foot and place the left hand in such a position 
as to guard the face, which should be bent toward the left shoulder. 
For the left swing, hold yourself well together, keeping your left 
arm well back, spring quickly forward on the left foot and swing 
your left with a half circular motion and a swing of the body, and 
pivot on the balls of both feet, and at the same time duck your 
head well to the right. 

Another effective movement is the right shift and the left 
swing. This blow is delivered after stepping out of the regular 
position. With the right foot, swing the arm and body in one 
move. Duck or side step after swinging the left. After gaining 
position instead of repeating the blow, simply step forward slightly 
to the right with the left foot. Duck and throw your head out of 
harm's way. This is a good move to make one shifty and should 
be practiced as much as possible. 

Right and I^eft Hooks. 

These are used to vary the monotony of straight hitting and 
before the student has become accomplished enough to use the 
elbow. This movement is one of the best and can be used as a right 




PUNCHING A FLOOR BALL. 



ART OF BOXING. 131 



or left single hander continuous blow. Stand directly in front of 
the ball and hit a hook blow. It will have a tendency to send 
the bag over the opposite shoulder and the return will be in 
exact position to land with great force as you hit. Swing the 
shoulder, and, after practicing, the learner will easily follow the 
ba,g movements, and in the end become very proficient as a judge 
of time and distance. 

SINGI.E; AND DOUBI^E; ROI.I,. 

Having disposed of straight hitting and swings we advance 
to the more intricate movements which include the use of the elbow, 
one of the most interesting of which is the "roll." A series of 
continuous elbow and short arm swings. This is one of the best 
movements for developing the shoulders and back. It is very 
simple after you have learned to hit the ball with the elbow. You 
stand directly under the bag and hit it with the right elbow and 
right hand, then reverse and land with the left elbow and left 
hand. It is a good way to become proficient by commencing with 
the right and left and occasionally use the elbows This causes 
the forward and backward and elbow movement; that is, with one 
arm only. The backward stroke with the elbow and the forward 
one with the right hand. The position can be changed and the 
left hand used. This movement performed quickly and accurately 
gives a sound like the rolling of a drum, and while simple in its 
employment is one of the most effective in a bag puncher's 
repertoire. 



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LiST OF BOOKS 

No. 1. Fox's New Bartenders' Guide. 

No. 2. Police Gazette Sporting Annual for 1903. 

No. 3. Barbers' Book of Recipes. 

No. 4. Hoyle's Games and Standard Card Player. 

No. 5. Boxing and How to Train. 

No. 6. The Cocker's Guide. 

No. 7. Scientific Wrestling, 

No. 8. The Book of Rules for all Sports. 

No. 9. The Dog Pit, 



RICHARD K. FOX, Publisher, 
FRANKLIN SQUARE, NEW YORK CITY. 



BARTENDERS' GUIDE 



A COMPLETE AND RELIABLE MANUAL ^OR THE 
MAN BEHIND THE BAR. 



IT CONTAINS A GREAT MANY NEW DRINKS, BESIDES ALL OF 
THE RECIPES FOR THE MOST POPULAR BEVERAGES. 




YOU DON'T HAVE TO THINK IT OVER WHEN YOU HAVE 
THIS BOOK HANDY. 



PRICE, 



25 CENTS. 



RICHARD K. FOX, Publisher, 
FRANKLIN SQUARE, NEW YORK CITY. 



-THE 



STANDARD BOOK OF RULES 
^FOR ALL SPORTS. 




WRITTEN AND EDIT- 
ED BY AN EXPERT 
ON THE SUBJECT, 
AND, AS A RESULT, 
IS PERFECTLY RELI- 
ABLE. IT CONTAINS 
ALL THE INFORMA- 
TION THAT IS POS- 
SIBLE TO OBTAIN 
AND IS WELL WORTH 
A PLACE IN ANY 
SPORTING LIBRARY' 



PRICE, 
25 CENTS. 



All Professional and Amateur Athletes Should 
Have a Copy of this Valuable Book. 



RICHARD K. FOX, PUBLISHER. 
FRANKLIN SQUARE, NEW YORK CITY. 



BARBERS' BOOK OF RECIPES 



THIS SHOWS THE NOVICE HOW TO MAKE HAIR TONICS, 

COSMETICS, COLD CREAM, ETC., AND IT IS A MONEY 

SAVER FOR THE UP-TO-DATE TONSORIALIST. 




ORDER ONE NOW AND YOU WILL REDUCE YOUR EXPENSES 
AND INCREASE YOUR INCOME. 



PRICE, 



25 CENTS. 



RICHARD K. FOX, Publisher, 
FRANKLIN SQUARE, NEW YORK CITY. 



THE DOG PIT. 



AN ILLUSTRATED TREATISE ON THE BREEDING, TRAINING 
AND HANDLING OF FIGHTING DOGS. 




% 



ALSO CONTAINS THE 
LATEST POLICE 
GAZETTE RULES. 



k 



THIS BOOK IS AN AUTHORITY UPON THE SUBJECT OF WHICH IT 
TREATS AND IS INVALUABLE TO THE DOG FANCIER. 



PRICE, 



25 CENTS. 



RICHARD K. FOX, Publisher. 
FRANKLIN SQUARE, NEW YORK CITY 




SHE IS VERY SHAPE- 
LY AND BEAUTIFUL,, 
AND THERE ABE 



OTHERS EQUALLY AS 
CHARMING IN THE 

Theatrical 

ART 
<^ALBUM 

ONE OF THE 

HANDSOMEST BOOKS 
EVER ISSUED. 



1lKxi6 INCHES, 
AND BOUND IN 
WHITE VELLUM. 



IT IS A RARE SPECIMEN 
Of THE PUBLISHERS' AND 
BOOKBINDERS' ART, AND 
IS WORTH MUCH MORE 
THAN IS ASKED FOR !T. 



PRICE - $2.50. 

OR SENT FREE FOR 5 
QUARTERLY SUB- 
SCRIPTIONS TO 

THE POLICE GAZETTE 

AT $1 .00 EACH. 



RICHARD K, FOX, 

PUB. 



APR 7 1904 



GREATEST OF REFERENCE BOOKS 



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(actual size of book 3X4^ INCHES.) 



..THE STflHDfll^D SPOHTIHG flOTHOHlTY.. 



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